Besides serving us at the growing edge of science and beyond, metaphor figures even in our first learning of language; or, if not quite metaphor, something akin to it. We hear a word or phrase on some occasion, or by chance we babble a fair approximate ourselves on what happens to be a pat occasion and are applauded for it. On a later occasion, then, one that resembles the first occasion by our lights, we repeat the expression. Resemblance of (...) occasions is what matters, here as in metaphor. We generalize our application of the expression by degrees of subjective resemblance of occasions, until we discover from other people's behavior that we have pushed analogy too far and exceeded the established usage. If the crux of metaphor is creative extension through analogy, then we have forged a metaphor at each succeeding application of that early word of phrase. These primitive metaphors differ from the deliberate and sophisticated ones, however, in that they accrete directly to our growing store of standard usage. They are metaphors stillborn. It is a mistake, then, to think of linguistic usage as literalistic in its main body and metaphorical in its trimming. Metaphor, or something like it, governs both the growth of language and our acquisition of it. What comes as a subsequent refinement is rather cognitive discourse itself, at its most dryly literal. The neatly worked inner stretches of science are an open space in the tropical jungle, created by clearing tropes away. W. V. Quine is the Edgar Pierce professor emeritus of philosophy at Harvard University. His many influential works include Methods of Logic, Word and Object, and The Roots of Reference. "On the Nature of Moral Values," his previous contribution to Critical Inquiry, appeared in the Spring 1979 issue. (shrink)

In this paper, a modified form of Collatz conjecture for neutrosophic numbers n ∈ (Z U I) is defined. We see for any n ∈ (Z U I) the related sequence using the formula (3a + 1) + (3b + 1)I converges to any one of the 55 elements mentioned in this paper. Using the akin formula of Collatz conjecture viz. (3a- 1) + (3b -1)I the neutrosophic numbers converges to any one of the 55 elements mentioned with appropriate (...) modifications. Thus, it is conjectured that every n ∈ (Z U I) has a finite sequence which converges to any one of the 55 elements. (shrink)

The Overview series functions as a kind of reputable pony for harried Roman Catholics. This particular volume gives a rather surprisingly competent description of what Existentialism is all about. The author finds Existentialism's greatest virtue in its emphasis upon human freedom. He rejects the Sartrean Existentialism in favor of its Marcelian form. This is a valuable little work, somewhat akin to Jean Wahl's book on the same subject of a few generations ago.--W. A. J.

Applying first-order logic to derive the consequences of laws that are only approximately true of empirical phenomena involves idealization of a kind that is akin to applying arithmetic to calculate the area of a rectangular surface from approximate measures of the lengths of its sides. Errors in the data, in the exactness of the lengths in one case and in the exactness of the laws in the other, are in some measure transmitted to the consequences deduced from them, and (...) the aim of a theory of idealization is to describe this process. The present paper makes a start on this in the case of applied first-order logic, and relates it to Plato's picture of a world or model of 'appearances' in which laws are only approximately true, but which to some extent resembles an ideal world or model in which they are exactly true. (shrink)

Throughout much of his long life, Kenneth Burke was recognized as a leading American intellectual, perhaps the most significant critic writing in English since Coleridge. From about 1950 on, rhetoricians in both English and speech began to see him as a major contributor to the New Rhetoric. But despite Burke's own claims to be writing philosophy and some notice from reviewers and critics that his work was philosophically significant, Timothy W. Crusius is the first to access his work as philosophy. (...) Crusius traces Burke's commitment and contributions to philosophy prior to 1945, from Counter-Statement through The Philosophy of Literary Form. While Burke might have been a late modernist thinker, Crusius shows that Burke actually starts from a position closely akin to such postmodern figures as Michel Foucault and Richard Rorty. Crusius then examines Burke's work from A Grammar of Motives up to his last published essays, drawing most heavily on A Rhetoric of Motives, The Rhetoric of Religion, and uncollected essays from the 1970s. This part concerns Burke's contributions to human activities always closely associated with rhetoric-hermeneutics, dialectic, and praxis. Burke's highly developed notion of our species as the "symbol-using animal," argues Crusius, draws together the various strands of his later philosophy—his concern with interpretation, with dialectic and dialogue, with a praxis devoted to awareness and control of the self-deceiving and potentially self-destructive motives inherent in language itself. (shrink)

The study of historiography is undergoing a revolution akin to that which took place in the history of political thought in the 1960s, and the work of J.G.A. Pocock is central to both. Pocock's continuing exploration, in Barbarism and Religion (1999-), of the intellectual contexts of Gibbon's History of the Decline and Fall of the Roman Empire, is central to this enterprise, and this essay situates the origins of his own work within a pre-‘Cambridge School’ Cambridge and its experience (...) of what might be called the Butterfieldian moment. That was marked by a desire to treat religion seriously as a driving force in history; and the same concern is applied here to further understanding an eighteenth-century controversy in which history and religion were dramatically involved, and which profoundly affected Gibbon's own historical and religious views. The work of Conyers Middleton and John Jortin is critically examined from this perspective. These preludes to Gibbon lead to a series of postludes examining the particular contexts in which Victorian and twentieth-century historians and writers, from Henry Hart Milman to Evelyn Waugh, variously appreciated and interpreted Gibbon. The whole is to be seen as a reflexive engagement with Pocock's vitally illuminating studies in eighteenth-century historiography. ☆ A slightly revised version of a lecture given at the University of Sussex on 22nd May 2008, on the occasion of a colloquium devoted to J.G.A. Pocock's Barbarism and Religion. It had originally acted as a prelude to a lecture by Pocock on the same occasion, subsequently published as ‘Gibbon and the invention of Gibbon: chapters 15 and 16 reconsidered’, History of European Ideas 35 (2009), 209–16. In this sense, therefore, the present essay has become a postlude. I am deeply grateful to Noël Sugimura for generously reading and commenting on the rescoring of a lecture into an essay. (shrink)

"Professor Mundle's authoritative and acclaimed critique of a way of thinking which still shapes the style of Anglo-Saxon philosophy is here presented in a revised text with a new postscript. Mundle shows how Austin, Ryle and Wittgenstein, among others, not only committed grammatical and logical errors akin to those they themselves detected in others, but misunderstood the relatoins between grammar and philosphy. Professor P.L. Heath contributes a new foreword, and Mundle himself answers his opponents in a subtly provocative manner." (...) --. (shrink)

Russellian monism (RM) attributes experience to the intrinsic nature of physics’ abstract mathematical accounts of the world. It’s touted as a promising mind-body solution, for it avoids dualist and physicalist issues. Yet this status is imperiled by its deeply obscure ideas of mental combination, protophenomenal entities, emergent experience, grounded abstractions, et cetera. This “metaphysical magical mystery tour” may render RM as problematic as competing views. A clear, simple panpsychism akin to Strawson’s might avoid these issues. In this theory (NPP), (...) experience is the real, underlying nature of matter-energy, hidden beyond its sensory appearances. NPP may avoid panpsychist combination problems by showing how neurons can electrically bind their minimal experience to form percepts, thoughts, and subjects. This might explain combination in testable ways, while RM instead turns to questionable microsubjects and binding mechanisms. NPP’s virtues are its metaphysical simplicity, empirical support, testable foundations—and its avoidance of the issues in RM and other standard theories. It might point to a mind-body solution. (shrink)

This essay involves exploration of certain repercussions of Bernard Williams’ view that there is, in Wittgenstein’s later work, a transcendental idealism akin to that found in the Tractatus—sharing with it the feature that it cannot be satisfactorily stated. It is argued that, if Williams is right, then Wittgenstein’s later work precludes a philosophically substantial theory of meaning; for such a theory would force us to try to state the idealism. In a postscript written for the reprint of the essay, (...) reasons are given for thinking that Williams is not right: Wittgenstein’s later work actually helps us to repudiate as ill-conceived all those questions whose answers invite us to embrace any such idealism. But the main thesis of the essay remains intact. Indeed the idea that Wittgenstein’s later work precludes a philosophically substantial theory of meaning is reinforced. (shrink)

The responsible corporate officer doctrine is, as a formal matter, an instance of strict criminal liability: the government need not prove the defendant’s mens rea in order to obtain a conviction, and the defendant may not escape conviction by proving lack of mens rea. Formal strict liability is sometimes consistent with retributive principles, especially when the strict liability pertains to the grading of an offense. But is strict liability consistent with retributive principles when it pertains, not to grading, but to (...) whether the defendant has crossed the threshold from noncriminal to criminal conduct? In this essay, I review the two most plausible arguments supporting an affirmative answer in the context of the RCO doctrine. First, perhaps this doctrine reflects a rule-like form of negligence, akin to a rule that prohibits selling alcohol to a minor. Second, perhaps this doctrine expresses a duty to use extraordinary care to prevent a harm. Neither argument is persuasive. The first argument, although valid in some circumstances, fails to explain and justify the RCO doctrine. The second argument, a duty to use extraordinary care, is also inadequate. If “extraordinary care” simply means a flexibly applied negligence standard that considers the burdens and benefits of taking a precaution, it is problematic in premising criminal liability on ordinary negligence. If instead it refers to a higher duty or standard of care, it has many possible forms, such as requiring only a very slight deviation from a permissible or justifiable standard of conduct, placing a “thumb” on the scale of the Learned Hand test, identifying an epistemic standard more demanding than a reasonable person test, or recognizing a standard that is insensitive to individual capacities. However, some of these variations present a gratuitous or incoherent understanding of “negligence,” and none of them sufficiently explain and justify the RCO doctrine. (shrink)

Discussions on the distinction between philosophy and science are apt to seem rather futile and academic. They would quickly lose that character if they were thought to have any bearing on the question of social survival or decay. That they have such a bearing follows if the following considerations are true, and I think that they are: first, that amongst the conditions of a society’s survival an indispensable one is the prevalence within it of a certain vision of it; secondly, (...) that in its type this vision is akin to philosophy and not to science; and thirdly, that the due cultivation of it necessitates our being careful not to mistake its affiliations. (shrink)

This paper argues that intrinsically metaphorical leaps are required to interpret and utilize information acquired at the atomic scale. Accordingly, what we ‘see’ with our instruments in nanospace is both fundamentally like, and fundamentally unlike, nanospace itself; it involves both direct translation and also what Goodman termed “calculated category mistakes.” Similarly, and again necessarily, what we ‘do’ in nanospace can be treated as only metaphorically akin to what we do in our comfortable mesoworld. These conclusions indicate that future developments (...) in nanotechnology will rely, in part, on the creation of more sophisticated metaphorical codes linking our world to nanospace, and I propose some initial possibilities along these lines. (shrink)

This paper argues that intrinsically metaphorical leaps are required to interpret and utilize information acquired at the atomic scale. Accordingly, what we ‘see’ with our instruments in nanospace is both fundamentally like, and fundamentally unlike, nanospace itself; it involves both direct translation and also what Goodman termed “calculated category mistakes.” Similarly, and again necessarily, what we ‘do’ in nanospace can be treated as only metaphorically akin to what we do in our comfortable mesoworld. These conclusions indicate that future developments (...) in nanotechnology will rely, in part, on the creation of more sophisticated metaphorical codes linking our world to nanospace, and I propose some initial possibilities along these lines. (shrink)

I. Since the beginnings of philosophy, in all cultures which have produced any, religion and philosophy have been closely tied up together, and have often been uneasy yoke-fellows, each at times feeling it a duty to combat the other. I think there are two main reasons for this, All higher religions develop a theology, or systematic statement of doctrine; the philosopher tends to regard this as a spurious kind of philosophy or science that deliberately neglects inconvenient facts; while the theologian (...) in his turn suspects the philosopher of ignoring important data which he ought to consider, viz.: the phenomena of concrete religion, Akin to this is the tendency of both parties to use the word “God” in a different sense; Pascal’s objection that the God of Abraham, Isaac and Jacob is not the God of the philosophers is prima facie justified. Nevertheless both parties might have a claim to use the word. (shrink)

The phrase “Cosmic Purpose” and others akin to it are familiar enough, particularly in the literature of edification. It is the aim of this article to examine the idea the words convey rather more closely than we do in our common use of them; to deflate the expression, so to speak, of those gaseous suggestions of “uplift” which too often hang about it. The question involved is, of course, in what sense, if in any, purpose may be attributed to (...) the Cosmos, to the universe in its totality. And we have to ask, in case the term so used should turn out to be really misused, Is it a sheer error that dissolves away under criticism, or is there some valid core of meaning which may be restated in other terms? If these are well-worn questions, yet the problem is too fundamental for them ever to be altogether trite. (shrink)

Fr. Frank Oppenheim’s body of work dedicated to the philosophy of Josiah Royce exhibits a degree of objectivity and admiration not evidenced in philosophical circles since Ralph Barton Perry’s magisterial The Thought and Character of William James.1 Royce once derisively referred to his own system Σ as akin to a Boston attic—a “junk heap” in which everything is there, but best of luck in getting anything out! It is helpful to consider the entire body of Oppenheim’s Royce-work as the (...) combination of a “Boston attic” and the most ideal image of the “kitchen sink”—the contents not only all there, but neatly separated, perfectly arranged, and brilliantly displayed. The purpose of this essay is to situate Oppenheim’s... (shrink)

The exemplary value of individual moral and political acts provides a unique vantage point for inquiring into the role of the creative imagination in social life. Drawing on Kant’s concept of productive imagination, I argue that an act’s exemplification of a fitting response to a moral or political problem or crisis is comparable to the way that a work of art expresses the ‘thought’ or ‘idea’ to which it gives voice. The exercise of practical reason, or phronesis, is akin (...) to the way that a work augments the practical field of our experiences in this respect. For, like a work of art, the act produces the rule to be followed by means of the example that it sets. Accordingly, I explain how the injunction issuing from the act can be credited to the way that the singular case summons its rule. The singular character of the injunction issuing from the act thus brings to the fore the relation between reflective judgment and this injunction’s normative value. The conjunction of reason, action, and the creative power of imagination offers a critical point of access for interrogating the normative force of claims rooted in individual acts. By setting reason, action, and imagination in the same conceptual framework, I therefore highlight the creative imagination’s subversive role in countering hegemonic systems and habits of thought through promoting the causes of social and political struggles. (shrink)

The computational theory of cognition (CTC) holds that the mind is akin to computer software. This article aims to show that CTC is incorrect because it is not able to distinguish the ability to solve a maze from the ability to solve its mirror image. CTC cannot do so because it only individuates brain states up to isomorphism. It is shown that a finer individuation that would distinguish left-handed from right-handed abilities is not compatible with CTC. The view is (...) explored that CTC correctly individuates in an autonomous domain of the mental, leaving discrimination between left and right to some non-cognitive component of psychology such as physiology. I object by showing that the individuation provided by CTC does not properly describe in any domain. An embodied computational taxonomy, rather than software alone, is required for an adequate science of the mind. (shrink)

What role does experience play in the development of face recognition? A growing body of evidence indicates that newborn brains need slowly changing visual experiences to develop accurate visual recognition abilities. All of the work supporting this “slowness constraint” on visual development comes from studies testing basic‐level object recognition. Here, we present the results of controlled‐rearing experiments that provide evidence for a slowness constraint on the development of face recognition, a prototypical subordinate‐level object recognition task. We found that (1) newborn (...) chicks can rapidly develop view‐invariant face recognition and (2) the development of this ability relies on experience with slowly moving faces. When chicks were reared with quickly moving faces, they built distorted face representations that largely lacked invariance to viewpoint changes, effectively “breaking” their face recognition abilities. These results provide causal evidence that slowly changing visual experiences play a critical role in the development of face recognition, akin to basic‐level object recognition. Thus, face recognition is not a hardwired property of vision but is learned rapidly as the visual system adapts to the temporal structure of the animal's visual environment. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Sexual Ethics: A Theological Introduction by Todd A. Salzman and Michael G. Lawler, and: Making Love Just: Sexual Ethics for Perplexing Times by Marvin M. EllisonDarryl W. StephensReview of Sexual Ethics: A Theological Introduction TODD A. SALZMAN and MICHAEL G. LAWLER Washington, DC: Georgetown University Press, 2012. 280 pp. $26.95Review of Making Love Just: Sexual Ethics for Perplexing Times MARVIN M. ELLISON Minneapolis: Fortress Press, 2012. 176 pp. (...) $18.00Intended for “the general educated Catholic population” (xiii), Sexual Ethics: A Theological Introduction (SE) is a masterfully abridged version of the authors’ award-winning 2008 book, The Sexual Person: Toward a Renewed Catholic Anthropology (TSP). Nearly all of the text of Sexual Ethics is common to both volumes, much of it edited for a broader audience. Omitted in Sexual Ethics are about seventy pages presenting contemporary debates between the methods and anthropologies of traditionalists and revisionists (most of TSP chapters 2 and 3). New in Sexual Ethics are “Questions for Reflection” at the end of each chapter and a brief discussion of “conscience” (xxv–xxvi).In both books, the authors offer a “historically conscious and revisionist approach” to Catholic sexual morality (SE, 221). Beginning with “two magisterial principles” in “Catholic moral, sexual tradition”—procreation and the confines of marriage—the authors note different theological bases for these principles—nature and reason, respectively (xiii–xiv)—and propose a significant shift in focus from the “‘nature’ of the act” to “the meaning of the act for the human person” (xvii). Chapter 1, which could stand on its own, provides a helpful, “brief history” of “sexual morality in the Catholic tradition,” undergirding the authors’ historical (in contrast with a classicist) approach. In chapter 2, the theological crux of the argument, Todd Salzman and Michael Lawler proceed to explore methodological developments and tensions in magisterial teaching, choosing “the principle of the human person adequately considered,” theologically articulated in Gaudium et spes, as the basis for their proposal of a “unitive sexual anthropology” (47). This holistic anthropological approach to the sexual person attempts to shift the magisterium’s “focus on acts and absolute norms” in sexual ethics to a method more akin to its social ethics, focusing on general principles, interrelationships, and the common good (59). Central to their [End Page 226] argument is a reworking of the concept of complementarity purged “of every suggestion of either gender or sexual inequality” (63). The remainder of the book illustrates “how these principles apply in real, concrete, particular human relationships” (87).To critique the argument of Sexual Ethics necessarily implicates The Sexual Person, which is beyond the scope of this review. Nevertheless, it is reasonable to ask whether the same argument presented as a “renewed Catholic anthropology” (in TSP) for professional theologians functions equally well as a “theological introduction” to sexual ethics (in SE) for a lay (nonscholarly) audience. Chapter 6, “Artificial Reproductive Technologies,” is the most successful in this regard, exploring a range of ethical concerns (e.g., means versus ends, burden of proof, presumptions against, appropriate cautions, and consideration of the common good) to arrive at a qualified expansion of magisterial teaching, which becomes a guide to personal discernment. Other topics in Sexual Ethics include marriage and contraception (chapter 3), cohabitation and premarital sexuality (chapter 4), and homosexuality (chapter 5).Overall, Sexual Ethics functions better as an introduction to Catholic sexual teaching and moral anthropology than as an introduction to sexual ethics. For example, reworking the concept of “complementarity”—despite the authors’ inclination “to abandon both the word and the idea” (63)—may be necessary for reconstructing Catholic tradition, but is not necessarily the most helpful starting point for sexual ethics. Sexual Ethics will be challenging for readers lacking theological training and will be of most interest to those already committed to and invested in magisterial teaching. My recommendation would be to use The Sexual Person as a teacher’s guide when assigning Sexual Ethics. By any measure, these books present a brilliant, careful, and sophisticated scholarly argument that revises Catholic sexual teaching in important and faithful ways.In Making Love Just: Sexual Ethics for Perplexing Times (MLJ), Marvin Ellison provides an accessible, engaging introduction to sexual ethics for... (shrink)

Despite the challenges associated with virtually mediated communication, remote collaboration is a defining characteristic of online multiplayer gaming communities. Inspired by the teamwork exhibited by players in first-person shooter games, this study investigated the verbal and behavioral coordination of four-player teams playing a cooperative online video game. The game, Desert Herding, involved teams consisting of three ground players and one drone operator tasked to locate, corral, and contain evasive robot agents scattered across a large desert environment. Ground players could move (...) throughout the environment, while the drone operator’s role was akin to that of a “spectator” with a bird’s-eye view, with access to veridical information of the locations of teammates and the to-be-corralled agents. Categorical recurrence quantification analysis was used to measure the communication dynamics of teams as they completed the task. Demands on coordination were manipulated by varying the ground players’ ability to observe the environment with the use of game “fog.” Results show that catRQA was sensitive to changes to task visibility, with reductions in task visibility reorganizing how participants conversed during the game to maintain team situation awareness. The results are discussed in the context of future work that can address how team coordination can be augmented with the inclusion of artificial agents, as synthetic teammates. (shrink)

Despite the growing interest in societal impact in the business and society literature, there remains a notable gap in research on the impact of health interventions on physical and mental health and social welfare. To address this gap, we shift the unit of analysis to the intervention, akin to the level of analysis used in health research. Drawing on a curated subset of health interventions in the workplace from the public health literature, we argue that management scholars can adopt (...) the methods used by public health scholars to design and assess health interventions. By tapping into the rich insights gained from these studies, management scholars can propose evidence-based interventions and policies that can enhance health outcomes, improve productivity, and cultivate a healthier workplace atmosphere. Collaborating with public health researchers, business and society scholars can help create a new field of research on corporate health policy. (shrink)

One of the main challenges in group therapy with drug-addicted patients is collective pseudomentalization, i.e., a group discourse consisting of words and clichés that are decoupled from any inner emotional life and are poorly related to external reality. In this study, we aimed to explore the phenomenology of pseudomentalization and how it was addressed by the therapist in an outpatient group for drug-addicted patients. The group was composed of seven members, and the transcripts of eight audio-recorded sessions were rated and (...) studied. The interventions of the therapist were measured with the mentalization-based group therapy adherence and quality scale by independent raters. Two sessions, one with the highest and one with the lowest adherence, were selected, and the clinical sequences of pseudomentalization were analyzed in a comparative way. The findings revealed that pseudomentalization does occur as a collective phenomenon, akin to “basic assumptions” of Wilfred Bion, which we reconceptualized in this study. Any pseudomentalization seemed to be reinforced by the therapist when she was presenting frequent and long interventions, when abstaining from the management of group boundaries, when providing questions focused more on content than on the mental states of the group members, and when not focusing on emotions. However, the ultimate source of collective pseudomentalization seemed to be the fear of the group members of being overwhelmed by painful emotions, mental confusion, and a loss of identity. The findings also indicated that the principles of MBT-G may be a good antidote to pseudomentalization. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:William James, W. E. B. Du Bois, and the Art of New Religious IdealsKolby Knight (bio)And I don’t know a soul who’s not been batteredI don’t have a friend who feels at easeI don’t know a dream that’s not been shatteredOr driven to its knees...Oh, and it’s alright, it’s alright, it’s alrightYou can’t be forever blessedStill, tomorrow’s going to be another working dayAnd I’m trying to get some restThat’s (...) all, I’m trying to get some rest—Paul Simon, “American Tune” (1973) / Recreated by Allen Toussaint (2016)William James and W. E. B. Du Bois believed that an artful life could produce new and world-changing religious ideals. As cosmopolitan scholars who studied in the United States and Europe, both men confidently interlaced original interpretations of Shakespeare, Wagner, and Goethe into their academic accounts of individual and social behavior. Beyond their patronage of the arts, James and Du Bois also saw themselves as scientists and artists who had the responsibility to create new pathways and religious ideals at a time when many European and American intellectuals depicted Western civilization as the endpoint of history.This article explores the pragmatic visions of science, art, and religion respectively offered by James and Du Bois. Pragmatism, here, refers to an active mode of study that looks closely at the interaction between specific thoughts and behaviors in particular situations without assuming a standard of truth which influences or evaluates human life from the outside of experience. As pragmatists, James and Du Bois did not believe their work consisted of merely the explication and description of preexisting truths, but more importantly the religious creation of what James called “new facts,” including healthier habits of thought and practice.1 [End Page 71]In this article, I will trace how the two men, as religious naturalists and leaders in the development of a pragmatic social science at the turn of the twentieth century, challenged evolutionary theories which envisioned Western civilization as the highest standard of aesthetic and intellectual development. Part one demonstrates how James, as a psychologist who prioritized the study and development of “first-hand” experiences, worked against visions of science that saw “lower” emotions as a hindrance to impartial intellectual discovery. It also explores how James centered personal religious experiences in his effort to de-center “impersonal” scientific frameworks which depicted human behavior and thinking as beholden to evolutionary laws which transcended individual experience. Part two considers James’s dissatisfaction with the “bad habits” of his privileged intellectual class, and how his own experience of “soul-sickness” and “stage fright” led him to contest both celebratory histories of Western progress and institutional arrangements which juxtaposed his “mystifying” intellectual performances to the lives of everyday people.Part three moves to how Du Bois, as a sociologist and former student of James, refocused James’s religious pragmatism within the context of his experience of anti-Black racism in the United States. This section traces how Du Bois saw his intellectual career as a work of art which could empower Black individuals to see themselves beyond what David Lloyd describes as “the racial regime of aesthetics” which imagines the progress of “lower humans” as dependent on higher civilizational and educational agents. This section also offers a tripartite interpretation of Du Bois’s experience of “double-consciousness” that considers its aesthetic, social, and political dimensions.2 While James expressed a desire to discard his own sense of double-consciousness, Du Bois’s experience of anti-Black racism made his two-ness more enforced and insidious. The fourth section looks at Du Bois’s disillusionment with white standards of beauty and intelligence as an experience akin to what James described as “soul-sickness.” It shows that whereas James believed that his negative emotional experiences could lead him to “new religious ideals” taking shape within the spiritual energy [End Page 72] and discomforts of his own individual body, Du Bois’s negative experience of racism led him to immerse himself in the religious and artistic vitality of Black social worlds which resisted the oppressive mechanisms and caricatures of... (shrink)

In this paper I propose to link [Hesiod] fr. 276 M.-W. with the mythological narrative preserved on PSI 14. 1398, which relates the death of Teiresias. This narrative belong to a work that drew on the lost Melampodia and provides information regarding this Hesiodic poem that had hitherto escaped our notice. Regarding the type of text preserved on PSI 14. 1398, the scanty remnants of the papyrus’ second column, where we read traces of what appears to be κeuqein and dendroκomov, (...) both poetic words, suggest that it must have been a prose text quoting poetry. Possibilities include a text on the history of divination, such as Philochorus peri mantiκnv, which offered a historical overview of famous exponents of the mantic art and included poetic quotations, or alternatively a text that belongs to the commentary genre broadly conceived, perhaps even a text akin to the so-called ‘Homeric anthologies’. (shrink)

The article analyzes the Swedish writer Pär Lagerkvist’s last volume of poems, Aftonland, and the metaphor of the “book of nature”, which the poet uses extensively and which forms the volume’s compositional axis. The starting point is to present the theological concepts of liber naturae and to indicate the functions of this metaphor in old literature. Lagerkvist’s take on this metaphor points to the fundamental change that occurred in the religious situation of man between the time of the metaphor’s peak (...) popularity and the middle of the twentieth century in a completely altered historical context. Lagerkvist’s return to this metaphor involves its radical transformation in the spirit of a modern transformation of spirituality. Rather than revealing theological truths, the “book of nature” in Lagerkvist’s poetry is akin to the “codes of transcendence” by Jaspers, which bring man, living in a disenchanted modern world, closer to a transcendental dimension of existence. The transformations of the “book of nature” theme in Lagerkvist’s poetic volume are also analyzed against the background of the transformations of modern and contemporary astronomy, as well as in the perspective of the theory of the “logic of writing’ and, also, the relationship between writing and religion. The use of the old metaphor allows Lagerkvist to express the affirmation of spiritual longings and the search for meaning in the world as unfulfilled but inalienable human qualities. The conclusion also points to the presence of the “book of nature” motif in other works of the Swedish writer, which is a manifestation of his metaphysical interests. (shrink)

This book offers a distinctive interpretation of Hegel's Phenomenology of Spirit. It suggests that Hegel's approach in the 1807 Phenomenology is akin to Socratic 'midwifery'. The book starts from the midwife figure in Plato's dialogue Theaetetus. There Socrates elicits from Theaetetus his views on the nature of knowledge, without imposing on him his own ideas thereof. Similarly, in the 1807 Phenomenology Hegel elicits a series of shapes of consciousness and spirit, and uncovers the implications of each one of them. (...) In the same way as Socrates subjected in his interlocutor's views to an internal criticism to see whether they were valid or not, Hegel subjects the various 'shapes of consciousness' to an immanent critique, in the course of which each oneof them proves to be inadequate on its own terms. Like the Platonic dialogue Theaetetus, Hegel's Phenomenology does not end in a positive doctrine. So the Phenomenology of Spirit introduces us to philosophical science in a negative sense, that is, by showing what philosophical science is not. In this way it prepares the ground for science proper, namely, Hegel's Science of Logic. (shrink)

The article aims to present the results of empirical research and theoretical analyses concerning the transfer, co-creation, and utilization of scientific knowledge by various entities, emerging at the intersection of science and practice. The research was conducted using survey techniques and in-depth interviews among scientists engaged in research collaboration with entities outside the university, and through case studies of two institutions acting as external partners. Among them were the Lublin City Office and the Lublin Culture Workshops, a municipal cultural institution. (...) The work falls within the realm of social research, which directly (Zerubavel 1997) or indirectly (Sange 1990, Douglas 2011) addresses the functioning and adaptation of various social systems (in this case, institutions and organizations) from the perspective of the communicatively mediated cognitive processes occurring within them (Luhmann 2018, Weick 1995, Lenartowicz et al. 2016a, 2016b). In this context, the subject of cognition and the user of knowledge is not an individual human, but a social system/organization with the capacity to observe itself and its environment, to learn, and to anticipate its future (Hecker 2012; Walsh 1995, Luhmann 2018; Seidl 2006, Lant, Shapira 2001). It posits the existence of a kind of supra-individual rationality, which does not require something like a system's unique self-consciousness, akin to human consciousness, but operates on the principle of L. Fleck's thought collectives, which are emergent in nature with respect to individuals (Sady 2020, Luhmann 1990, Fleck 1986). The rationality of such collectives is defined by their belonging to a functional area of society, hence they differ in the case of entities belonging to the science, economy, politics systems, etc. The research focused on situations where, due to the need for knowledge, various organizations collaborate with scientific units. This research succeeded in characterizing the main stages of establishing and implementing such collaboration, and the main requirements associated with them. The study sought to determine the impact of the interaction of different rationalities on the nature of the co-created knowledge and to identify the conditions of its usefulness, both for external entities and for the scientific system. The adopted indicator of the usefulness of knowledge for the scientific system is the publication of results in scientific journals, while for external entities, its impact on the decision-making process, such as changing operational strategies. In this case, the mechanism of translating knowledge into changes in organizational practices was also examined, paying attention to the existing mechanisms of collective learning within the organization. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:5. Grange plays the blame game on the free market system for example on pp. xviii, T^ 29, 67, 74, 85, 91, 94, 109, III; in connection with remarks on environmental mat- ~ ters it is a consistent subtext of his entire work. Two of his previous works are Nature: J^ An Environmental Cosmology, 1997, and The City: An Urban Cosmology, 1999 (both Albany: tfl SUNY Press). ^ 6. (...) The transliteration of ren as "authoritative person" is an egregious tour deforce, ^ leading to a somewhat inelegant result in English, as in the following examples: "Authoritative persons are content in being authoritative; wise persons flourish in it"; and "The Master said: "I have yet to meet people who are truly fond of authoritative conduct (ren)... And those who abhor behavior contrary to it, in becoming authoritative themselves, will not allow such conduct to attach itself to them" (cited from Grange, p. 29). Li (ritual propriety) is co-opted as a match for the Deweyan concept of experimental inquiry. Yi (sense of justice, outer righteousness, often combined with ren, which in combination constitute the two cardinal virtues of Confucian moral theory), and zhi (knowledge, wisdom) are similarly adopted to work in tandem with a model of an "aesthetic" populism. Grange renders yi as "what is fitting and appropriate," akin to "beauty," or "the fair and the fitting," that is, acting consistently in a manner of openness to what is happening that is "the very opposite of the narcissism that infects so much of Western culture" (p. 52)). 7. The demiurgic role of the "master" here reminds one of the fundamental rift between Whitehead and Dewey that is glossed over in this construction. Dewey, who remained committed to a naturalistic doctrine of emergent evolution, chided Whitehead for his doctrine of the ingression of eternal objects. In reply, Whitehead refused to change this key part of his cosmology. The doctrinal clash between the two thinkers appears to be reflected in the debate over the value of the Confucian concept of Heaven (tian), as indicated in note 4. Edited by Anne Waters American Indian Thought. Oxford: Blackwell Publishing, 2004. 306 pages. $29.95 paper. This volume is a group of twenty-two essays about the various facets of Native American thought and philosophy. Eighteen Native American scholars of American Indian thought are the contributors. In many ways this volume is a first in that these Native peoples are trying to create an inteUectual space where ideas, philosophies, spiritualities and esthetics can be examined in a meaningful way. As a long time student of Native American political thought, I applaud this volume because it represents a departure from the attitudes that I encountered in the academy as a young Native American scholar a generation ago. I can remember as a young Associate Ptofessor being in the elevator of Bunche HaU at UCLA when a history colleague of mine turned to me and quizzed me about my interests in Native American history. When I stated that I was interested in Native American thought and particularly Native American political theory, the coUeague replied that they did not know that American Indians had any thoughts or inteUectual traditions. Needless to say, we have 863 ^ corne a long way since that conversation over twenty five years ago. I have ^ always taught undergraduate courses and graduate courses on the History of KH Native American Thought and I adopted this book for a graduate course of ^ mine when it first came out last year. I can say that it was well received by my ^ graduate students and it provided an excellent array of essays on the various areas of Native American philosophy. The work also demonstrates that Native American ideas can be examined within the context of the discipline of philosophy. This collection of essays by American Indian thinkers blends contemporary philosophies with traditional ideas and philosophical issues. Thus, philosophical questions relating to time, place, history, national communities, religion, law, science, the arts and ethics are all addressed. Moreover, the reader can compare Native American viewpoints on phenomenology, metaphysics, ethics, esthetics, epistemology, logic and science with the perspectives of Western philosophy on these topics. In a very real sense, this volume opens new ways... (shrink)

W. V. Quine assumed that in _Empiricism, Semantics, and Ontology Rudolf Carnap was attempting to dodge commitment to abstract entities--without either renouncing quantification over them or demonstrating their dispensability--by wielding the analytic/synthetic distinction against ontological issues. Quine's interpretation of Carnap's intent--and his criticism of it--is widely endorsed. But Carnap objected, I argue, not to abstract entities, but to his critics' suggestion that empiricism implies nominalism. Quine's and Carnap's views are therefore more akin than Quine ever suspected. Unfortunately, Quine's misinterpretation (...) of Carnap's position has led to a misunderstanding of the implications of Quine's own naturalistic turn for contemporary ontology. (shrink)

[W]e might despair of despair itself, rather than of life, and cast that off, and begin, and so reverse our direction.This is a finely conceived, elegantly written, and exquisitely executed work. At its center, there is Naoko Saito ’s creative appropriation of one of Cavell’s most fecund suggestions—philosophy is first and foremost an activity and, as such, it is either akin to or, more strongly, identifiable with practices of translation.1 Everything I have to say concerns translation, if only implicitly. (...) Moreover, I offer everything as a friendly amendment. That is, I take my reflections on her book to be in accord with both the spirit and, in most instances, even the letter of her texts. Whether or not she... (shrink)

Richard Price’s moral epistemology provides a distinctive account, not only of the sources of our moral knowledge, but also of its limits – that is, of the moral truths that we do not and even cannot know. According to this moral epistemology, the fundamental moral truths are necessary rather than contingent; if they are knowable at all, they are knowable a priori. In general, fundamental moral truths are akin to mathematical truths. Specifically, these necessary moral truths are grounded in (...) the essences of act-types, which are knowable through ‘intuition’ if knowable at all. However, Price firmly rejects utilitarianism, recognizing several different ‘branches of virtue’, which can conflict with each other. As he argues, we cannot know the truth about act-types that exemplify such conflicting branches of virtue if the competing considerations are too finely balanced. This view of moral epistemology is compared with those of several other philosophers, including W. D. Ross. It is argued that Price has a more unified view than Ross: for Price, all moral knowledge flows from a priori intuition, but this is compatible with our being ignorant of many of the fine details of the fundamental truths of morality. (shrink)

Wittgensteinian predicate logic (W-logic) is characterized by the requirement that the objects mentioned within the scope of a quantifier be excluded from the range of the associated bound variable. I present a sound and complete tableaux calculus for this logic and discuss issues of translatability between Wittgensteinian and standard predicate logic in languages with and without individual constants. A metalinguistic co-denotation predicate, akin to Frege’s triple bar of the Begriffsschrift, is introduced and used to bestow the full expressive power (...) of first-order logic with identity on W-logic in the presence of constants. (shrink)

Table of Contents Perspectives on Animal Cognition Chapter 1 The Myth of Anthropomorphism John Andrew Fisher Chapter 2 Gendered Knowledge? Examining Influences on Scientific and Ethological Inquiries Lori Gruen Chapter 3 Interpretive Cognitive Ethology Hugh Wilder Chapter 4 Concept Attribution in Nonhuman Animals: Theoretical and Methodological Problems in Ascribing Complex Mental Processes Colin Allen and Marc Hauser Cognitive and Evolutionary Explanations Chapter 5 On Aims and Methods of Cognitive Ethology Dale Jamieson and Marc Bekoff Chapter 6 Aspects of the Cognitive (...) Ethology of an Injury-Feigning Bird, The Piping Plover Carolyn Ristau Chapter 7 Tradition in Animals: Field Observations and Laboratory Analysis Bennett G. Galef Chapter 8 The Study of Adaptation Randy Thornhill Chapter 9 The Units of Behavior in Evolutionary Explanations Sandra D. Mitchell Chapter 10 Levels of Analysis and the Functional Significance of Helping Behavior Walter D. Koenig and Ron Mumme Recognition, Choice, Vigilance, and Play Chapter 11 The Ubiquitous Concept of Recognition with Special Reference to Kin Andrew R. Blaustein and Richard H. Porter Chapter 12 Do Animals Choose Habitats? Michael Rosenzweig Chapter 13 The Influence of Models on the Interpretation of Vigilance Steven L. Lima Chapter 14 Is There an Evolutionary Biology of Play? Alex Rosenberg Chapter 15 Intentionality, Social Play, and Definition Colin Allen and Marc Bekoff Communication and Language Chapter 16 Communication and Expectations: A Social Process and the Cognitive Operation It Depends upon and Influences W. John Smith Chapter 17 Animal Communication and Social Evolution Michael Philips and Steven Austad Chapter 18 Animal Language: Methodological and Interpretive Issues Sue Savage-Rumbaugh and Karen E. Brakke Chapter 19 Knowledge Acquisition and Asymmetry between Language Comprehension and Production: Dolphins and Apes as General Models for Animals Louis M. Herman and Palmer Morrel-Samuels Animal Minds Chapter 20 Evolution and Psychological Unity Roger Crisp Chapter 21 The Mental Lives of Nonhuman Animals John Dupré Chapter 22 Inside the Mind of a Monkey Robert M. Seyfarth and Dorothy L. Cheney Chapter 23 Science and Our Inner Lives: Birds of Prey, Bats, and the Common Bi-ped Kathleen Akins Chapter 24 Afterword: Ethics and the Study of Animal Cognition. (shrink)

Πόλεμος πάντων μὲν πατήρ ἐστι War is the father of all. New : Publication of my book : Histoire du libéralisme in Editions Ellipses, on Fnac or Amazon.1) HERACLITUS : 139 Fragments.a) Heraclitus (PDF) Original Greek text : Diels; English translation : John Burnet (1912), French translation of the English translation (1919), in PDFb) Heraclitus (unicode) : Parallel version or Interlinear version (Work in Progress) Original Greek text : Diels; English translation : John Burnet (1912), French translation of the English (...) translation (1919)c) Heraclitus : Original greek text : original pages of Hermann Diels edition (1912)2) The Encyclopædia Britannica Eleventh Edition (1910–1911) : HERACLITUS (Ἡράκλειτος; c. 540-475 B.C.), Greek philosopher, was born at Ephesus of distinguished parentage. Of his early life and education we know nothing; from the contempt with which he spoke of all his fellow-philosophers and of his fellow-citizens as a whole we may gather that he regarded himself as self-taught and a pioneer of wisdom. So intensely aristocratic (hence his nickname ὀχλολοίδορος, "he who rails at the people") was his temperament that he declined to exercise the regal-hieratic office of βασιλεύς which was hereditary in his family, and presented it to his brother. It is probable, however, that he did occasionally intervene in the affairs of the city at the period when the rule of Persia had given place to autonomy; it is said that he compelled the usurper Melancomas to abdicate. From the lonely life he led, and still more from the extreme profundity of his philosophy and his contempt for mankind in general, he was called the "Dark Philosopher" (ὁ σκοτεινός), or the "Weeping Philosopher," in contrast to Democritus, the "Laughing Philosopher." κακοὶ μάρτυρες Heraclitus is in a real sense the founder of metaphysics. Starting from the physical standpoint of the Ionian physicists, he accepted their general idea of the unity of nature, but entirely denied their theory of being. The fundamental uniform fact in nature is constant change (πάντα χωρεῖ καὶ οὐδὲν μένει); everything both is and is not at the same time. He thus arrives at the principle of Relativity; harmony and unity consist in diversity and multiplicity. The senses are "bad witnesses" (κακοὶ μάρτυρες); only the wise man can obtain knowledge. To appreciate the significance of the doctrines of Heraclitus, it must be borne in mind that to Greek philosophy the sharp distinction between subject and object which pervades modern thought was foreign, a consideration which suggests the conclusion that, while it is a great mistake to reckon Heraclitus with the materialistic cosmologists of the Ionic schools, it is, on the other hand, going too far to treat his theory, with Hegel and Lassalle, as one of pure Panlogism. Accordingly, when he denies the reality of Being, and declares Becoming, or eternal flux and change, to be the sole actuality, Heraclitus must be understood to enunciate not only the unreality of the abstract notion of being, except as the correlative of that of not-being, but also the physical doctrine that all phenomena are in a state of continuous transition from non-existence to existence, and vice versa, without either distinguishing these propositions or qualifying them by any reference to the relation of thought to experience. " Every thing is and is not'"; all things are, and nothing remains. So far he is in general agreement with Anaximander (q.v.), but he differs from him in the solution of the problem, disliking, as a poet and a mystic, the primary matter which satisfied the patient researcher, and demanding a more vivid and picturesque element. Naturally he selects fire, according to him the most complete embodiment of the process of Becoming, as the principle of empirical existence, out of which all things, including even the soul, grow by way of a quasi condensation, and into which all things must in course of time be again resolved. But this primordial fire is in itself that divine rational process, the harmony of which constitutes the law of the universe (see LOGOS). Real knowledge consists in comprehending this all-pervading harmony as embodied in the manifold of perception, and the senses are "bad-witnesses," because they apprehend phenomena, not as its manifestation, but as "stiff and dead." In like manner real virtue consists in the subordination of the individual to the laws of this harmony as the universal reason wherein alone true freedom is to be found." The law of things is a law of Reason Universal (λόγος), but most men live as though they had a wisdom of their own." Ethics here stands to sociology in a close relation, similar, in many respects, to that which we find in Hegel and in Comte. For Heraclitus the soul approaches most nearly to perfection when it is most akin to the fiery vapour out of which it was originally created, and as this is most so in death, " while we live our souls are dead in us, but when we die our souls are restored to life." The doctrine of immortality comes prominently forward in his ethics, but whether this must not be reckoned with the figurative accommodation to the popular theology of Greece which pervades his ethical teaching, is very doubtful. The school of disciples founded by Heraclitus flourished for long after his death, the chief exponent of his teaching being Cratylus. A good deal of the information in regard to his doctrines has been gathered from the later Greek philosophy, which was deeply influenced by it. BIBLIOGRAPHY.—The only authentic extant work of Heraclitus is the περὶ φύσεως. The best edition (containing also the probably spurious Ἐπιστολαί) is that of I. Bywater, Heracliti Ephesii reliquiae (Oxford, 1877); of the epistles alone by A. Westermann (Leipzig, 1857). See also in A. H. Ritter and L. Preller's Historia philosophiae Graecae (8th ed. by E. Wellmann, 1898); F. W. A. Mullach, Fragm. philos. Graec. (Paris, 1860); A. Fairbanks, The First Philosophers of Greece (1898); H. Diels, Heraklit von Ephesus (2nd ed., 1909), Greek and German. English translation of By water's edition with introduction by G. T. W. Patrick (Baltimore, 1889). For criticism see, in addition to the histories of philosophy, F. Lassalle, Die Philosophie Herakleitos' des Dunklen (Berlin, 1858; 2nd ed., 1892), which, however, is too strongly dominated by modern Hegelianism; Paul Schuster, Heraklit von Ephesus (Leipzig, 1873); J. Bernays, Die heraklitischen Briefe (Berlin, 1869); T. Gomperz, Zu Heraclits Lehre und den Uberresten seines Werkes (Vienna, 1887), and in his Greek Thinkers (English translation, L. Magnus, vol. i. 1901); J. Burnet, Early Greek Philosophy (1892); A. Patin, Heraklits Einheitslehre (Leipzig, 1886); E. Pfleiderer, Die Philosophie des Heraklit us von Ephesus im Lichte der Mysterienidee (Berlin, 1886); G. T. Schäfer, Die Philosophie des Heraklit von Ephesus und die moderne Heraklilforschung (Leipzig, 1902); Wolfgang Schultz, Studien zur antiken Kultur, i.; Pythagoras und Heraklit (Leipzig, 1905); O. Spengler, Heraklit. Eine Studie ilber den energetischen Grundgedanken seiner Philosophie (Halle, 1904); A. Brieger, "Die Grundzüge der heraklitischen Physik " in Hermes, xxxix. (1904) 182-223, and "Heraklit der Dunkle" in Neue Jahrb. f. das klass. Altertum (1904), p. 687. For his place in the development of early philosophy see also articles IONIAN SCHOOL OF PHILOSOPHY and LOGOS. Ancient authorities: Diog. Laert. ix.; Sext. Empiric, Adv. mathem. vii. 126, 127, 133; Plato, Cratylus, 402 A and Theaetetus, 152 E; Plutarch, Isis and Osiris, 45, 48; Arist. Nic. Eth. vii. 3, 4; Clement of Alexandria, Stromata, v. 599, 603 (ed. Paris). (J. M. M.) Copyright. (shrink)

Although film for Adorno is first and foremost the principal agent of culture industry, he takes on an equivocal stance towards the medium and its aesthetic potentials for reasons inherent to the medium itself. Indeed, its disinterested recording of the empirical world leads to both, a semblance of immediacy easy to instrumentalize for propaganda or advertising purposes, and a non-subjective access to the world of objects, which disclose their societal imprint. Despite (or because of) its technological basis, film is inherently (...) concerned with the society it both mediates and addresses, and has to be understood as a collective medium in either of its formats: commercial productions, because they address the masses (which they manipulate and distract from reality’s inherent antagonisms by reproducing pseudo-realistic, stereotypical representations in a totalitarian manner), independent films, because they unearth something non-identical nestled in the folds of the ideological totality, through a montage “which does not interfere with things but rather arranges them in a constellation akin to that of writing”. This article aims to deploy the complex constellation through which Adorno approaches film, its embedding in the capitalist world, its inherent aesthetic force and its complicated relation with the reality it mediates. (shrink)

The _Physics_ is a foundational work of western philosophy, and the crucial one for understanding Aristotle's views on matter, form, essence, causation, movement, space, and time. This richly annotated, scrupulously accurate, and consistent translation makes it available to a contemporary English reader as no other does—in part because it fits together seamlessly with other closely associated works in the New Hackett Aristotle series, such as the _Metaphysics_, _De Anima_, and forthcoming _De Caelo_ and _On Coming to Be and Passing Away_. (...) Eventually the series will include all of Aristotle's works. Sequentially numbered endnotes provide the information most needed at each juncture, while a detailed Index of Terms indicates places where focused discussion of key notions occurs. An illuminating general Introduction describes the book that lies ahead, explaining what sort of work it is and what sorts of evidence it relies on. (shrink)

Much of the current philosophy of film literature follows Walter Benjamin’s optimistic account and sees film as a vehicle for screening philosophical thought experiments, and offering new perspectives on issues that have relevance to everyday life. If these kinds of films allow for philosophical thinking, then they are like other so-called ‘high’ artworks in that they encourage social, political and economic critique of social norms. Yet, most popular films that are digested in large quantities are not of a high aesthetic (...) or moral quality. Theorists who conceive of cinema as a means of thinking must firstly reply to the objections that most films simply do not encourage active, intelligent, imaginative participation. Prior to the publication of Deleuze’s cinema books, theorists such as T. W. Adorno feared the advent of the Hollywood Studio film as akin to Nazi propaganda. Dismissed as elitist, their concern was that mass produced and distributed artworks portrayed the depicted social norms as immutable reality. If the imagination cannot enter and engage with the messages depicted through the filmic medium, i.e. through montage or similar ‘shock’ techniques, then viewers cannot critique the moral and social status quo screened; instead, they simply receive it, and it is reinforced. If we consider how passive cinematic viewers are, voyeuristically ensconced in a darkened theatre, we can see the concern here. If only some films allow for critique of social, political and economic norms in society, and these films are attended by those viewers who are already critical viewers, then how is film more generally a tool for thinking? If we are to honestly discuss the filmic medium, we must acknowledge the Hollywood blockbusters that stifle imaginative engagement with their narratives and often depict stereotypes. I argue that we need to read Adorno alongside Benjamin, in order to acknowledge the positive as well as negative attributes of films. In doing this we see the need to focus on the critical attitude of the viewer, as well as the moral messages of the film, particularly when we consider what the majority of consumers willingly ingest uncritically. Adorno and Benjamin both offer a historical account of art whereby their aesthetics require audience reception and are linked to experience. The way art is tied to human experience and the world of sensory perception is through language. Language allows the communication of ideas or referents which convey meaning via signs that contain some kind of ‘truth’ in the form of a cognitive component that must be interpreted. While there are many different stories being told in contemporary culture, the focus on the critical thinker, the interpreter of the narrative, is vital. (shrink)

I supplement Frankish's defence of illusionism by pressing a point I've made elsewhere regarding how actual computational proposals in psychology for conscious processes could be run on desktop computers that most people wouldn't regard as conscious. I distinguish the w-consciousness of such a desktop from the s-consciousness people think humans but no such machines enjoy, which gives rise to an explanatory gap, invites first scepticism, unwanted analgesia, and is not supported by Cartesian introspections or any other non-tendentious evidence. Rather, along (...) lines suggested by Wittgenstein and Chomsky, it seems to be an illusory projection of our innate, involuntary responses to things that look and act like our conspecifics, one encouraged by a decontexualized philosophical over-reading of ordinary talk, akin to an over-reading of a term like 'the sky'. However, it also seems to be an illusory projection we can't entirely dispel. (shrink)

Grootenboer is interested in art as philosophy, that is, art as a consideration of thinking. She insists that early modern art can be viewed through the lenses of contemporary interest and means. She argues that art is capable of articulating thoughts and shaping concepts in visual terms, and thus directly engages with the development of philosophical ideas. In particular, she explores the ways seventeenth-century paintings, in the wake of the Reformation and the rise of humanism, became sites of speculation about (...) the possibilities and limitations of thinking as such. She focuses not on how thought is expressed in pictorial statements but on what remains unspoken in painting, implicit, and inexpressible--a quality that she calls pensiveness. Different from the self-aware images propounded by W. J. T. Mitchell, which seem in control of the interpretations they elicit, pensive images are speculative, pointing beyond mere interpretation. As an alternative pictorial category, akin to narrative or allegorical painting, pensive images can articulate the complexities of philosophical ideas, and thus gain new relevance in more recent debates on the nature of the image in visual culture. (shrink)

“Artworks are not being but a process of becoming” —Theodor W. Adorno, Aesthetic Theory In the everyday use of the concept, saying that something is grotesque rarely implies anything other than saying that something is a bit outside of the normal structure of language or meaning – that something is a peculiarity. But in its historical use the concept has often had more far reaching connotations. In different phases of history the grotesque has manifested its forms as a means of (...) subversive resistance against society’s prevailing notions of form and power. What aids this impact and distinguishes two of its basic stylistic features is the grotesque’s dissolution of form and its hyperbole. Such grotesqueries, however, soon solidify into new forms, new structures of meaning, hierarchy and practice, and in this sense the history of the grotesque is, on one hand, a continual opposition and transgression of the prevailing notions of art as well as of God and humanity, while on the other hand it offers continual resistance to its own solidifying process. As such the grotesque will not and cannot be contained in form without it losing the very thing that makes it grotesque. Even though it is somewhat easy to point out certain stylistic features of the grotesque, the sum of those features tell us very little about what is at play within it. Definitions concerned with the grotesque’s content rather than its form faces similar difficulties. Throughout history, expressions relating to the grotesque have been used in defense of a whole host of different social and cultural discourse including, for instance, Catholicism (See Erhard Schön’s Der Teufel mit der Sackpfeife , 1536), Protestantism (See Lucas Cranach’s Der Papstesel , 1523), a material folk culture (see Mikhail Bakhtin’s Rabelais and his World , 1984) and an idealistic romantic structure of meaning (see Wolfgang Kayser’s The Grotesque in Art and Literature , 1957). Thus though the grotesque cannot be reduced to the expression of certain forms or meanings, in order to examine what the grotesque is about one has to try to see how it’s relationship to flow and process and how, by maintaining this relationship, it attempts to avoid solidifying into form and meaning. The process of the grotesque alluded to here revolves around a play between periphery and center, the marginalized and the dominant. Most often this is expressed as a direct negation of the center of power. In the medieval grotesque tradition of the carnival, for example, it is expressed by its emphasis on the nether regions of the body as the center of creation of meaning. Spirit does not come from above, but from the belly, buttocks and genitals, and there is, expressed in this manner, a mockery of the predominant Christian notion of truth and meaning. Such inversions of the sites of meaning most often explicitly express an increased interest in materiality instead of ideal content which comes to the fore through the play between periphery and center. Even in early grotesque Renaissance art (for example in the works of Raphael) the depiction of the mythological or ideal reveals an exploration of the possibilities of the material. The works of art thus explore their own boundaries rather than act as vessels of the divine and in this way the grotesque explores the limits of form and materiality. This in turn brings to the fore a metaphysical dimension in the workings of the grotesque: It is an immanent exploration of its own boundaries. Materiality and metaphysics are joined together, because it is through the awareness of itself as a structuring (dis)order that it places itself in opposition to the prevailing notions of form and power. This way the grotesque expresses an awareness of the division of sign and reality and a search for this reality. It implicitly expresses the awareness that meaning is not something God-given and static, but fluctuating and man-made. In modern explorations of the history of the grotesque it is commonly seen as a form of realism that manifests a shift from the ideal towards the material, freeing art from representing some hidden higher order and instead making the work of art the very site of creation and meaning. Going even further, the grotesque actively opposes the notions of the ideal by marking a shift from an ahistorical view of the world towards the historical. However, this also makes clear why the grotesque has a tendency to solidify into new static forms of meaning, for by establishing itself as a subversive counterforce there is an idea of transgression and emancipation. That is why the grotesque often historicizes and relativizes only to repeat the mistakes of that which it negates: putting itself in the king’s chair. The exploration of the material seems to create new forms and notions of the ideal. The representation of an otherness outside the prevailing notions of meaning and truth becomes a positive manifestation of this otherness as truth itself. Thus the historical “truths” of the grotesque are superseded by history itself. When the expressions of the grotesque solidify into static form and meaning, they become mere objects like anything else in the world. Instead of being this elusive thing of process and flow, it becomes tangible to the existing hierarchy of power as well as history itself. In this way the grotesque can be expunged, included or simply revealed as yet another false notion of truth, which is precisely what has happened with the grotesque throughout the course of history. If from the beginning the expression of the grotesque has not already been in the service of some structure of meaning and truth, it has quickly been included or has quickly included itself in such a structure. But by doing so it rejects its own basis: the tension between periphery and center is replaced by the attempt to create a new center, a new structure of meaning and truth. The doubleness, ambiguity and flow of the grotesque are then rejected by the grotesque itself. THE NON-FORM OF FORM In the critical thinking of Theodor W. Adorno (1903-69) the problem of art, caught between a reductive and prevalent notion of truth and meaning and a peripheral and alienated otherness, is reexamined and reformulated. For Adorno, the instrumental rationality of Enlightenment itself reverts into a new form of mythology which is every bit as static and exclusive as the hierarchies of religion it supersedes. All is excluded that is non-identical to the instrumental mastery of the objects of the world, "For the Enlightenment, anything which cannot be resolved into numbers, and ultimately into one, is illusion; modern positivism consigns it to poetry." 1 As such the non-identical has been banished from the realm of thought and action, and banished specifically to the realm of art. But the realm of art is not able to provide a decent home for it because even modern art is not something entirely autonomous. While it is excluded from the notions of truth and meaning provided by instrumental rationality, it still originates from society. Just like instrumental rationality art is about mastery, structuring and exclusion. Therefore, the problem for art is that it cannot directly provide a space for the non-identical because its mode of operation is similar to that of instrumental rationality. Even worse, art has very few possibilities to free itself from this. If it becomes l’art pour l’art it is at the same time reduced to the very thing instrumental rationality claims it to be: a subjective judgment of taste.expressionism also stands as an example of this. Conversely, art cannot work within the framework of the identity-thinking of society, because any notion of freedom or emancipation would reproduce the exclusive practices of instrumental rationality. For example: Explicit socialist literature may establish itself in opposition to instrumental rationality while at the same time reproducing it. Its language may seem different, but in reality it merely provides a different set of reductive schematics for human life and experience. The problem for the art of the grotesque was, as I mentioned earlier, that far too often it was merely a symbolic manifestation of a notion of otherness—not otherness itself. Because of this the subversive character of the grotesque ends up shaping and containing otherness instead of providing a space for it. According to Adorno the only way to avoid this is to radicalize the grotesque. In order to avoid solidifying into form the work of art has to be an object which cannot be contained in thought or form—a non-form of form. The work of art has to work in a way that it strives for autonomy but without entirely leaving a discernible reality. In other words, it has to pull in two directions at once. Thus the work of art is a paradox. It is autonomous in the sense that it closes itself off from everything outside of the work of art, trying to shy away from the contaminating influence of the identity thinking of instrumental rationality. At the same time though the work of art is heteronomous in the sense that it originates from a specific historical context and is bound to be what society is not. Autonomy and heteronomy are inseparably intertwined. Unable to display otherness itself, but still trying to be a refuge for it, there is only one option for art: It has to turn against itself and destroy its own logic of form, thereby demonstrating how any representation of otherness is impossible. Art becomes a lamentation of the victims of the identity thinking of instrumental rationality and shows the traces of the otherness that is unable to appear. Adorno’s pessimistic theory of art and history stages art as a negative dialectical process where the work of art closes itself off and rejects everything outside, while the individual elements in the work of art destroys its very own logic of form from within: Artworks synthetize ununifiable, nonidentical elements that grind away at each other; they truly seek the identity of the identical and nonidentical processually because even their unity is only an element and not the magical formula of the whole […]. The resistance to them of otherness, on which they are nevertheless dependent compels them to articulate their own formal language, to leave not the smallest unformed particle as remnant. This reciprocity constitutes art’s dynamic; it is an irresolvable antithesis that is never brought to rest in the state of being. 2 Relative to a traditional understanding of the grotesque, Adorno radicalizes the tension between center and periphery, autonomy and heteronomy. In the traditional understanding of the grotesque, as we find it for example in the writings of Mikhail Bakhtin, the grotesque establishes the display of otherness as a new center of meaning and truth. However Adorno rejects such notions and argues instead for a modernism of the grotesque in which both center and periphery are included in a negative dialectical process and continually synthesizing and destabilizing each other’s positions. A modernism of the grotesque works on the inside of the sign or the artwork, continually outlining and questioning the boundaries between materiality and form. This moves the focus away from the relation between the sign or work of art as a conceptual manifestation on one side and the object it refers to on the other side. Instead it implicitly points to the amorphous mass from which the signs and thereby meaning have been carved, the remnants that have been left behind. Modernism of the grotesque does not imply that it is emancipatory or that it reconciles man with nature, and does not represent a new position or a new ideology. It merely remembers and insists on the double nature of man and art: to write or paint yourself or an artwork whole by inscribing meaning in life or by applying form on a canvas is at the same time both creation and destruction. The very signs we use to center meaning in our lives carry its own alienation in them. Meaning surfaces only when process and flow comes to a halt—solidifying, but at the same time excluding parts that do not fit into that particular structure of meaning. NOTHING DONE AND NOTHING UNDONE It has always been difficult for art historians to find a suitable category for the works of the Danish artist Leif Lage (b. 1933). In his paintings the sensitive figuration seems so fragile that it is on the verge of turning into abstraction. Or conversely: the figurative emerges cautiously and hesitantly out of abstraction. As an art critic once wrote, he can almost paint things away. 3 Working in some undefinable space between abstraction and figuration, the Lage’s works shy away from the realm of words, and as a result few critics have been able to write anything meaningful about his works. In fact even fewer have been able to write more than one or two pages. The Danish author and art critic Leif Hjernøe is one of those few, but even he starts off by saying how impossible it is to write about Lage, confessing that his works exist both as process and in a field of in-between which words cannot reach. He writes: Always you find yourself in a place where nothing is done and nothing left undone, and where the elements of the work of art rest in a continuous motion. Always there is the open wound, where infection rather than surgical intervention is considered as an opportunity. And the conflict between matter and antimatter makes all diagnoses uncertain and allows conditions of uncertainty to spread in a place of raw presence. 4 The art works against the diagnosis and the certainty. Words are being eaten up by what is outside the realm of words: tension, process and doubleness. An approach to an understanding of the work of Lage could be to follow his connection to Samuel Beckett (1906-89). One can note, therefore, that Lage has illustrated several of the Danish translations of Beckett’s works. Though one is an author and the other a painter both seek a place where figuration, where the word, erodes. For both this entails an attempt to question and examine and so move in behind the façade of the surface in an exploration of that something or nothing that may be behind representation. At the same time even in the vanishing point of figuration or words, the meaningless words or the disjointed lines still stand as signs of human activity—signs of movement in emptiness. With very few exceptions Lage’s artworks revolve around one motif: Man—most often “en face.” But unlike traditional portraitures Lage’s people are found within. The artworks do not sense the reality of appearances, but rather the existential dimensions within man. As a seismograph they are sensitive to the utmost subjectivity in order to display an objective, sensuous depiction of the very problem of subjectivity. Instead of a static façade of a man, Lage’s “en face” shows the process-character of man. The people in Lage’s paintings are always in process—in the midst of becoming or dissolving. I will take a closer look in the following at the ways in which Lage establishes this sense of being in constant process, of being in-between modes or categories. THE DOUBLENESS OF THE STROKE Lage’s etchings attract attention in particular for the tension conveyed there between the material and the form. The material physically opposes the violence of the needle. But instead of embracing the violence of the needle and the victory over matter—instead of making the artistic creation and figuration express a heroic mastery of the background it is made out of—Lage uses the stroke to express the very tension between stroke and material, figuration and background. In the drypoint etching Untitled from 1983, which illustrated the Danish translation of Beckett’s Ill Seen, Ill Said , the needle tears up the material in long rough lines: Together, the primarily horizontal and vertical lines form a face. Thus the force needed to etch a line in the metal-plate draws attention to itself: It is there in the absence of curves and nuances. Man emerges on the metal-plate after great exertion and in a very simplistic form. This way Lage enhances the nature of the material, as the material’s resistance is not something to overcome. On the contrary the figuration is smitten by its very resistance and as such expresses the violence of its own becoming. Even more pronounced is the fact that the lines do not just show the violence of creation—it actively erases figuration in the same process that creates it. For example the mouth consists of 8-10 horizontal strokes, of which some seem to be connected to each other as if the mouth has been quickly scratched out. The mouth speaks of the inability to speak. In the same way, the eyes are black holes due to a large amount of criss-cross cuts, which together form a dark middle. Those lines, at the same time, form the eyes of the figuration and scratch out the eyes of the figuration. The extroverted aspects of the face—connected to speech and sight—are portrayed as introverted as well. Just as the etchings down into the metal-plate makes something appear. Leif Lage, Untitled , 1983 (etching) The figuration of the etching is connected to creation. It expresses that something is wrought into existence out of nothing by sheer artistic force. However, this force is at the same time presented as a violence of creation, which makes it impossible for form to truly emerge. Herein lies one of the basic principles of Lage’s art, namely that art cannot be that nothing or something behind the realm of words or signs. Without form, art would lose its ability to express anything at all. Form is a necessity if art is to avoid becoming as devoid of expression as the reality is that we cannot reach behind the appearance of things. On the other hand, art cannot raise itself above its own material in joyous celebration of the beauty of form. This would use the material in the manner of an instrument and thus would suppress the otherness it attempts to rescue. When art becomes mere form, any traces of otherness will have dissolved. Then art would be a question of technique, in no way different from the instrumental rationality of society. Therefore art works in a particular space between form and non-form. As Hjernøe says of the works of Lage, it is in the center of the event, in the in-between where things neither are nor are not, "And everything takes place just before it changes character. As the blood just before it coagulates, as the milk just before it separates, as fried egg just before it turns white […]." 5 The precise emphasis on the in-between of Lage’s art points in particular to the work of art as both outside of and in time. The work of art is a singular point in time, but at the same time it is continually in process. In the borderland between form and non-form, between creation and destruction, it shimmers like a fata morgana . The work is done but at the same time undone. It is only there as a cry in response to the inability to come into being. Akin to the etching is the drawing, but while both, of course, use the stroke or line as their main instrument, the paper does not resist the line in the same sense as the metal-plate of the etching. As a result in Lage’s drawings the stroke frolics in a space with almost no tension at all. There is nothing there to keep the pencil stroke at bay, but at the same time this means that there is nothing there to keep it together. One of the more expressive examples of this is found in an untitled drawing from Tegninger og Text ( Drawings and Text ) from 1999. The drawing consists of one unbroken pencil stroke. It is as if the stroke is confused—it darts around on the paper making doodles on the way or gathers itself in more straight lines in the center of the paper. It is in this manner that the semblance of a body is established. A couple of small circles serve as eyes and are the reason that the rest can be read as both face and body instead of pure abstraction. In fact the unbroken stroke serves as both abstraction and figuration as on the one hand it is the stroke that seemingly outlines the shape of a figure, while on the other hand the unbroken stroke dissolves any truly recognizable figuration by continuously, without end or aim, overflowing the boundaries of the figure. Seen again here is a doubleness to the stroke and the act of creation. In the etching it was all about the tension between the resistance of the material which created the doubleness. Here it is the opposite. It is the lack of tension. The stroke is free to do anything, but has no aim: without some kind of resistance, there is nothing to hold figuration together. It threatens to dissolve into nothingness. Conversely, the drawing can also be seen as a process of becoming. Like a form of automatic writing, the pencil darts around until it finds a point of densification. But even in such an interpretation of the drawing, the figuration appears artificial—it points to itself as the result of the artistic act of creation. The stroke is primarily stroke and only secondarily figuration. With its wild movement it calls attention to itself as stroke. Thus the figuration never becomes something in its own right. It points to the basic principle of creation: Someone has drawn me, I am the result of artistic endeavors, and therefore I am not for myself but always overflowing the boundaries that contain me. It is the stroke that in the very same movement creates figuration and dissolves it. Leif Lage, Untitled , 1999 (drawing) THE LIGHTNESS OF COLOR, THE DENSITY OF PAPER Often the watercolor is used as a precursor for larger paintings, because it has an immediacy in which one can quickly paint the main lines of a composition. However, Lage’s watercolors are not temporary points in a process leading to another final painting. They are not sketches, later to be filled with details in another material. For him watercolor is an end in itself. This also implies that he doesn’t try to work against the paper’s absorption of the water color and its tendency to absorb detail. On the contrary, he examines the possibilities inherent in this blurring of the line and absorption of color. As in the previous examples, there are of course recognizable shapes in Lage’s water colors. But these shapes are rarely separable from color, line or even paper. In other words: the figurative and the abstract more or less become one. One of the reasons for this is that Lage often works on wetted paper which means that the paper hungrily absorbs color into its fabric instead of it being on top of the paper. The paper becomes line because it is the absorption of the color which, together with the brush stroke itself, separates the colors from each other. The line is also color and the color is also line, because there is no separation between the different colors other than the colors themselves. At times this results in almost complete abstraction. In such cases Lage add lines with a pencil as if he wants to hold some sort of figuration together. At other times it is the other way around: the strokes of the pencil are a being dissolved by the water color blurring out the figuration. Untitled 1 from 1999 displays various tones of green. The contour of the colors appears unusually rough. Most of all it is reminiscent of a shoreline which has found its form through the work of thousands of years between water and land. Pockets of resistance surface as islands not yet drowned in color—as paper or color not yet consumed by the dominant color. The shape of the colors does not seem created by the hand of the artist, but rather by the inner workings of the watercolor: color against color over time has resulted in this very image, as if it is all a part of a natural process of change and decay. Despite the fact that there are no strong differences in color there seems to be a struggle taking place in the watercolor. For example, inexplicable holes in the dark color, which cover most of the right side of the watercolor, appear as if the underlying color is eating away the dark color, or that the dark color is in the process of covering up the underlying color. The small pockets of resistance demonstrate a process and development that, almost as a happy accident, evokes a couple of small eyes and a large mouth. Behind the colors a few slanted lines can be discerned, but the hand of the artist has long ago disappeared behind the life of the colors. Thus the watercolor seems to be held at precisely the point in time where figuration randomly appears. The small eyes and wide mouth seemingly express the realization of the figuration’s temporality. It is just a moment in time, soon to be consumed again in the life of the colors. The nature, the background it stems from and is part of, moves on undeterred, continuing its everlasting process of creation and decay. In this sense, the watercolor provides an experience of how neither artist nor man is able to transcend the materiality they consist of. The colors of man, the materials man consists of are “becoming” and “progress” but also “decay” and “disappearance”. The artist’s pencil strokes have been eaten up long ago, and the figuration is living on borrowed time. Human or artistic activity is about creating form, transcending mere matter by shaping and applying meaning to it. But Untitled 1 shows the doubleness of such creation: the transience and fragility of human life. Should the figuration come into being, should it rise and transcend the material, which binds it to its temporal existence, it would become nothing because its very existence is conditioned by the life and work of the colors. In the same sense man cannot escape his own temporality. He too, for better or worse, must accept a life in the volatility of sensation. Leif Lage, Untitled 1 , 1999 (watercolor) In most of Lage’s watercolors there seem to be a stronger artistic control than in Untitled 1 . Most often both the arrangement of colors and the technique in which they are painted express the hand of the artist. An example of this is Untitled 2 from 1999. While figuration in Untitled 1 seemed to appear as a happy accident, the figuration is much more “created” in Untitled 2 . Here the most important parts of the figuration, the eyes, the mouth and part of the skull, are colored black and painted on top of the background’s play of colors. The background primarily consists of blue and yellow tones. Only parts of the paper are covered in color, however, which yet again stresses the act of painting: There is a surface which is being filled by color by an artist. The blue tones are concentrated in the figuration, while the yellow tones surround it. All this means that the figuration stands out more clearly in this watercolor. This is also underlined by the fact that the blue and dark tones cover part of the yellow tones as spots here and there. Thus it is not a background which is in the process of consuming figuration, but rather the emerging figuration which blots out the background. Such an understanding is even suggested by how the mouth and eyes are placed in the larger blue color field. The eyes and mouth are in the center of the watercolor, while the blue color field is placed from center out towards the left side. This gives the impression of a face turned slightly to the right and slightly upwards, which again makes the mouth appear to emerge from the paper. It also helps that the mouth cuts the center axis of the watercolor. In other words, the arrangement of the blue and black colors create some depth and perspective which gives the illusion of a figuration, seen partially in profile, emerging from the background. Seen in profile, the eyes and mouth seem extroverted—they almost seem as if they are put on top of the face. But at the same time they are painted as black holes, sucking in the gaze of the onlooker. The watercolor is even more challenging if one follows what may be the faint outline of the skull, which, on the right side of the watercolor, no longer works together with the blue color, but rather alone postulates the outline of the skull. If not the blue color field, but this line, is the outline of the skull, then all of a sudden the face is not in profile but “en face”—staring directly towards the onlooker. Outline and color seemingly work against each other and establish two different expressions. Without the slightly upward tilted expression of the profile, the eyes and mouth do not seem to emerge from the paper. On the contrary, seen “en face,” the eyes and mouth are really gaping pits of darkness. In this sense Untitled 2 is at the same time surface and depth of perspective. The line gives form but at the same time it dissolves the form created by the colors, and vice versa. Leif Lage, Untitled 2 , 1999 (watercolor) As the last example of Lage’s artistic method, I have chosen another untitled work (as indeed nearly all of Lage’s artworks are)—this time from 2000. This is perhaps one of the most figurative watercolors Lage has created, though that doesn’t tell us too much. The painting depicts a human face in blue and green tones on a yellow toned background. The colors create a clear demarcation between the figure and the background, which compensate for the watercolor’s lack of outline. Beneath the face darker tones imply the beginning of the torso, and nuances of color even hint at something which could be a collar. The hair is in even darker tones and its structure is emphasized using pencil strokes on top of the water color. One eye is marked by a brown spot with a darker spot in the middle, while the other eye is added by pencil. The mouth is a round, red dot. In Untitled from 2000 the work between abstraction and figuration is much less pronounced than in the previous examples cited here. Nonetheless the watercolor has a delicacy to it which almost makes the figuration disappear, even as it appears. This has something to do with the fact that all the individual brush strokes have dissolved. The only outlines are those created by the clash of colors. Even the red mouth seems to be more paint than mouth—unable to be formed truly as anything other than a speck of color with some small semblance to a mouth. In contrast to the other watercolors, there is no movement, no progress or decay, just a vibrating standstill. The figure is not emerging or disappearing but embedded in and as surface, and as such it makes the figure seem stuck in its condition rather than freed by the act of giving form: mouth open as a wound. Pencil strokes add detail and life to the hair as an attempt to help the figure emerge. But all this does is create two levels in the watercolor: The pencil strokes are put on top of the figuration rather than being part of it. Thus they end up highlighting the endless distance between the movement and form-giving of the pencil strokes and the static and stuck figure behind these strokes. Leif Lage, Untitled , 2000 (watercolor) MAN AND THE VIEW OF THE ONLOOKER Lage’s works seem at the same time to be an examination of tensions between form and material in art and a display of an image of man full of the same tensions. This is because the people who are emerging in Lage’s images are not just in his works, They are his works. This means that man is not something emerging from a background but is part of this background and vice versa. The art of Lage inscribes man in its surroundings and background. Man is not the ruler of nature. Man does not rise above matter; there is no truly transcendent position for man to occupy in the art of Lage. Instead man is a part of the very matter, it, at the same time, tries to distance itself from in order to distinguish itself from its surroundings. Man emerges in an attempt not to be line, stroke, color. In an attempt to free itself of matter. Should it succeed in this, however, it would turn into nothing. On the other hand, if man fully accepted itself as mere matter it would disappear in it—in instincts, urges and lack of reflection. The appearance of man is thus subject to a state of being in-between. Only in the tension between material and its negation can the outlines of man be traced. However this also means that in the art of Lage man is never something in itself but always in process—on the way to its freedom and its loss. However, Lage’s art is not just about showing the tensions inherent in man but also about showing such tension on the verge of breaking point. In the moment before everything is done, or when nothing yet has been done, the delicate tension between form and material has been stretched to its utmost in such a way that man’s character of process emerges and is contained on the paper or canvas. Therefore, Lage’s art contain traces of human life. Not only is it an autonomous unity of tensions where man is stretched out between its singularity and the surroundings it is a part of. It is also this pulsation between figuration and material which brings about the traces of human endeavor and activity. Even when man almost seems to have disappeared into the material, strokes and lines are still there as a reminder of human activity and potential creative power—as a reminder that hope is still possible and that man is still there. The view of the onlooker seeks out forms and meaning. It seeks outlines and edges. But first and foremost it is the eyes in Lage’s works of art that allow the onlooker to decode the figuration at play. This creates a distinctive relationship between the onlooker and the artwork. The onlooker tries to wrest the enigma from the artwork, tries to reduce it to solid, meaningful form. But the very same moment that hints at such a possibility sees the view of the onlooker confronted with a gaze of its own. The eyes of the figure in the work of art are most often dark pits, as if they were an illustration of the violence committed against the eyes of the onlookers and their search for meaning. Or as if they were a dark reflection of the onlooker’s failed attempts to delineate the traces of life in the artwork to a solid meaningful form. Therefore, the gaze of the figuration speaks not only of its own powerlessness but also of the powerlessness of the onlooker. When the view or sight has trouble finding solid meaningful forms, it has something to do with the fact that the precondition for sight, light, no longer stems from something transcendent. In Lage’s art there is nothing outside the works of art, nothing outside of human life, and as such nothing to shed light on the works of art or human life and reveal solid meaningful forms. All light comes from within. In a western context, light as a medium for sight is central to the understanding of meaning. People speak of the clarity of thought, while knowledge is tied together with enlightenment, and so forth. But the light no longer originates from a divine point of view. It originates from man, who has created himself in the image of God. The problem with this is that light always covers up its own base. Light illuminates something but at the same time it hides itself. 6 While it was previously God who was unknowable, now it is man. It is also problematic that sight and the medium of sight stem from the same place. Following this thought one can posit two final problems. Firstly, the immediacy and presence established by light by making forms and objects accessible to sight is fake. Light is not some independent entity which present things in a neutral manner for the onlooker. It is inextricably tied together with the gaze’s desire after meaning. In other words: Light perverts the appearance of things because it doesn’t originate from some objective entity which allows them to appear as they are. Instead light is based upon and originates from the subject and its conquering gaze, seeking out meaning and form constantly. Secondly, the joining of sight and light makes introspection within human life impossible. Everything can be illuminated by its use value for the subject but only as long as it is separated from the subject, as long as it is an object. But the subject itself cannot be illuminated. Lage’s art tears down such a dividing line between subject and matter, but it does so without reestablishing a divine position from where the light emanates. Therefore, the light in Lage’s art may not illuminate very well. It may not have the certainty presented by modern science or the religions of yesterday. But it does show what such light tries to hide, namely, the subject as it is in its material reality—inscribed in time and death, which are the basic conditions of materiality, but at the same time also full of life in its joy and will to create. For the onlooker the meeting of the gaze in Lage’s works of art is thus also a destruction of the view of the onlooker. The ability to see is challenged in a radical way. Those outlines will not solidify into static form, as if the light was too dim to see. Just as in Lage’s figurations, the view of the onlooker turns to black: turns towards the onlooker in recognition and becoming—or disappearance. NOTES Max Horkheimer and Theodor W. Adorno. Dialectic of Enlightenment . (Palo Alto: Stanford University Press, 2002): 4-5. Theodor W. Adorno. Aesthetic Theory . (London & New York, 2002): 176. Carsten Bach-Nielsen. “Mere glæde end gru.” Kristeligt Dagblad . September 24, 2002. Leif Hjernøe. “Den yderliggående inderlighed.” LEIF LAGE—Retrospektiv udstilling 1983 . (Copenhagen: Brøndum, 1983): 18. Ibid. Maurice Blanchot. The Infinite Conversation . (Minneapolis: University of Minnesota Press, 1993): 162-163. (shrink)

Some of Dave Chappelle’s uses of storytelling about seemingly mundane events, like his experiences with his “white friend Chip” and the police, are examples of what W.E.B. Du Bois calls “Positive Propaganda.” This is in contrast to “Demagoguery,” the sort of propaganda described by Jason Stanley that obstructs empathic recognition of others, and undermines reasonable debate among citizens regarding policies that matter: the justice system, welfare, inequality, and race, for example. Some of Chappelle’s humor, especially in his most recent Netflix (...) specials, but also in his earlier standup performances and his series The Chappelle Show, is akin to art that appeals to emotion in the ways suggested by Du Bois in “Criteria of Negro Art” (1926). Beauty is essential to art, but, “I do not care a damn for any art that is not used for propaganda. But I do care when propaganda is confined to one side while the other is stripped and silent” (p. 22). The “one side” is that which appears to extoll American ideals, but in reality undermines them, perpetuating the subordinate status of “the other”--black citizens. Replace “beauty” with “humor” or “funny”, and we see striking parallels between Chappelle’s socio-political performances and Du Bois’ call for positive propaganda, each of which constitute “civic rhetoric” broadly construed. We no longer live in Du Bois’ America of explicit denial of rights. In many ways our situation is worse, as the mechanisms of exclusion are implicit, difficult to dislodge, because they are invisible. Chappelles’ humor draws attention to subtle undermining-propaganda in our liberal democracy, transforming it through his counter-propaganda into the spectacle that it should be; ubiquitous democracy-denying propaganda should be as obvious to whites as it is to minorities. In his words, we should all see that “that shit is fucking incredible” (Killin’ Them Softly). (shrink)

continent. 2.1 (2012): 29–35. Translated by Vincent W.J. van Gerven Oei from Jeroen Mettes. "Politieke Poëzie: Enige aantekeningen, Poëtica bij N30 (versie 2006)." In Weerstandbeleid: Nieuwe kritiek . Amsterdam: De wereldbibliotheek, 2011. Published with permission of Uitgeverij Wereldbibliotheek, Amsterdam. L’égalité veut d’autres lois . —Eugène Pottier The modern poem does not have form but consistency (that is sensed), no content but a problem (that is developed). Consistency + problem = composition. The problem of modern poetry is capitalism. Capitalism—which has no (...) image: the unrepresentable Idea of “everything.” The problem is that a poem cannot be justified. There is no excuse for it. Political poetry— pure poetry—has to be problematic, though not in a mannerist way. Yes, its problem is first its own problem—poetry’s existence in the same world as the newspaper—but therefore also always everybody’s problem (the problem of any world at all). The cult of the sublime points at a suspect desire for transcendence, nostalgia for paradise lost (the womb?). Melancholia of the post-. But a problem neither sorrows nor mourns, it is alive, and the fact that it is alive is the problem—the problem for death (rigidity, the status quo). Our symbols and ideologies do not hide any god: symbolic = state; imaginary = human; real = money. Problem: the possibility of communal speech (poetry) in the absence of a “we.” Or: what is a “we” that is not a collective subject (or in any case is not a volonté générale )? What is a universal history that is not a History? This work was started in the shade of the anti-globalization protests at the end of November 1999. I considered N30 to be the closure of the nineties, of my adolescence, and of the a seemingly total extinction of social desire. From the beginning I was skeptical about the alterglobalization movement as the avant-garde of a new politics, but something was happening . Maybe this event did not show that, as the slogan would have it, “another world” is possible, but for me it indicated that such possibility was at least still possible. That naked possibility is carrying forward. And if the fundamental tone of this work sounds more desperate than utopian, this is not caused by the catastrophic sequence that since 1999 has plunged us ever deeper into the right-wing nightmare—a nightmare that this work also gives an account for—but because my hope as yet remains empty. Composition . Composition is no design, but the production of an autonomous block of affects (i.e. a POEM), rhythmically subtracted from the language of a community. A poem does something. Is something. New Sentence . Choosing the non sequitur as compositional unit has the advantage that an abstract composition is subjected to the stress of concrete, social references. Where there is a sentence, there is always a world. (This does not hold necessarily for words on their own.) And where sentences collide, something akin to a textual civil war takes place. It is not about “undermining” whatever, or de-scribing the raging global civil war, but about writing social (or even: ontological) antagonism -- including all its catastrophic and utopian possibilities. Minor resistance. Why would poetry be the no protest zone par excellence? It is nothing but protest, not simply qua “content,” but in its most fundamental essence: rhythm. Rhythm is resistance against language, time, and space, and the basis of (what we will continue to call) autonomy. Rhythm starts with the anti-rhythmic caesura as Hölderlin remarked about Sophocles, a disruption of the quotidian drone. The destruction of everything that is dead inside of us. The noise of the avant-garde has never been the representation of the noise of (post)modernity (from the television or shopping mall), but the sober noise of the systematic exchange of an unbearable worldview. The poet does not describe, but looks for a way out: There is a Grain of Sand in Lambeth that Satan cannot find Nor can his Watch Fiends find it, tis translucent & has many Angles But he who finds it will find Oothoons palace, for within Opening into Beulah every angle is a lovely heaven William Blake was not mad. And there has always been only one poetry: the poetry of paradise. The principle is that there is something in art (the essentially creative element) that is disgusted by that which, unlike art, does not aim for the supreme. Wonder is not supreme, tranquility is not supreme, beauty is not supreme. Even amusement is not supreme! The supreme is supremely open, “das Einfache,/ Das Schwer zu machen ist” 1 : paradise. That is abstract. Literally. For me it is not about a concrete imagination, an idyll or utopia. There is no doubt a need for that, but it is not so much the supposed lack of imagination or ideals (human rights are ideals), but a fundamental lack of desire (human rights are no desires) that we suffer from, and from which we do not need to remove Nietzsche’s label of “nihilism.” “We.” George Oppen: “ Of Being Numerous asks the question whether or not we can deal with humanity as something which actually exists.” What is less actual than humanity? Nowadays it appears as a lifeless ideology of cynical power politics. Or as what makes one think. It is a shame to be human. The event is the caesura that defines rhythm. Writing toward the event is not the description of the event, but marking an abstract and intense space in which the event may unfold and keep itself. It is a task. “Remember that thou blesseth the day on which I seized thee, because such is thy obligation.” The event is a contraction (or a series of contractions) with its own rhythm and unique qualities. It is more than an explosion or demonstration. But at the same time less. The endless repetition of images and stories in the media points to a fear for the indeterminate and indeterminable void of the event. In the end there is nothing to see. We do not live in disaster’s shade or miracle’s light, but rather in the rhythm, which is contracted time, having little to do with omnipresent representations. For this book I did not intend a rhythm of evental representations (a narrative rhythm), but a rhythm which would be an event itself , because it draws the border between artwork and history. My desire for a direct engagement with the “extra-textual reality” has nothing to do with the representation of “rumor in the streets.” (What has less street cred than representation?) Naturally, a poem is no historical event and does not change anything. But a poem is a part of history that wants to be repeated forever, constructed in such a way that it is worthy of repetition. It is a part of desire (composition) made consistent (durable). The “historical event” flares up and burns down, and has to burn down to be effective. The leftovers are images and stories (representations), History—no event. The artwork—that is the ambition— remains event (though monumental and inefficient/inoperable). (No wonder that a historical singularity, a revolution, reminds us of a work of art; the resurrection yearns for a judgment, an affirmation; everything depends on it.) Hence the title does not summarize the book, let alone contract its “content” into a quasi-transcendental signifier. The title is juxtaposed to the book, like everything else inside the book, and in that relation it precisely forms a part of it. The ideal work is an open whole, lacking nothing but to which everything may be added. I have been interested in this “everything,” the world, or as I said above: capitalism. “Everything” is not the space for “wonder”—a code word, a shibboleth for petty bourgeois imagination (I recognize myself in the strangest things, a speaking dog, a canal, a pond standing straight—oh my god). No. The world is a social world, not YOUR world, poet. Power is number one. I will call “Dutch,” or “shitty,” whatever denies this power. That hurts, but this pain is an expression of the desire in the world to write another world, or as Blanchot says, “the other of all worlds” 2 : the world. Not as what “is there,” but rather as that which urges for an escape from what “is.” This is a testament of how radical reality has become, for me—or rather, a writing body—in a having-been-written. I am not interested in the problem of “meaning” as misunderstood by literary scholarsi: “order” in “chaos,” “symbolization.” Bullshit. What is there, hop, hope, now: the meaning of the taste in my mouth. Bullshit. I am not interested in the frustration of interpretation; I am writing for readers who do not want to interpret. I do not know how many “professional readers” will hear the music of a paragraph like: Sun. Sushi. Volvo. I hope more than I would think. There is a suggestion (or rather, an actual production) of speed and infinitive owing to the absence of plosives, i.e. articulations such as /k/, /t/, or /p/. Can you hear the slick suaveness? Driving car dark, vocal chiaroscuro of the word “sushi.” The unstressed /i/ stands in the middle of dark vowels and thus acquires its own special out of focus , like a momentary flash or brilliance—an obscure light. It is not about recognizing a story, but about avoiding any story whatsoever: the car disappears in the glow, cars and raw fish have nothing in common except their articulation in a language that brings them together, blurring them. A world appears in its disappearance. For a moment, light is a metaphor for language, though it cannot be reduced to tenor. It is not necessary to be a linguist or philosopher to hear this—a “difficult” poem all too often becomes an allegory of its own impenetrable being-language. The only demand: leave your hermeneutical fetish at home. This was no interpretation. Most shit has been stolen etcetera. That is no longer interesting. You cannot shoot the body with information and let your lawyers reclaim the bullets. So every sentence has been stolen. Also the ones “out” “of” “my” “head.” Why would I be allowed to steal from myself and not from others? Man takes what he needs to move forward. Whatever he encounters, finds in front of him, “occurs” to him. The writer as text editor, or singing pirate. Nothing new here. Important difference with for example Sybren Polet’s 4 montage technique: anti-thematicism. Most of the time ferocious citation from whatever I was reading, listening to, ended up in, and so on. I wrote chapter 12 on my laptop while watching CNN. On the air instead of en plein air . I often employed search engines to generate material. Chapter 20 offers the purest example of this. Often I stop recognizing a particular citation after some time. It is not uncommon for a stolen sentence to conform itself to the paragraph in which it finds itself. Sometimes I nearly arbitrarily replace words. Arbitrariness as a guarantee for absolute democracy. It is a poetics of the non sequitur : a conclusion that does not follow from the premises, the strange element in the discourse. A discourse of strangers. No logical, narrative, thematic unity. There is unity in speed/flight. It has to be read linearly, but not necessarily (not preferably) from beginning to end. The shortest distance between two points is a straight line, but this line precedes every point. The middle, the acceleration, comes first. A point occurs where two lines cross. It has been written from up close, at the level of the tension between sentences. Nothing to be seen from a distance: no form except the exchange of form, no geometrical or mythical meaning. You have to get in, “groping toward a continuous present, a using everything a beginning again and again” (Stein). 5 In Dutch, experimental poetry has been mainly dense: a small rectangular form filled with a maximum amount of poetic possibility. But at the moment the poem starts to relax, the anecdotical content seems to increase. This is what is called “epic”: long, narrative. I believe that an epic is more than that, in fact something completely different. An epic is “a poem including history,” 6 a long poem tied up with the life of community, that as a whole does not need to be narrative. The American poets of the twentieth century (Pound, Williams, Zukofsky, Oppen, Olson, Silliman) have put the epic back on the map by interpreting the poem itself as a map, and writing it as navigation. They have invented the experimental epic, a genre that has generated little original following in “our” poetry. N30 is the middle part—“always start in the middle”—of a trilogy, the contours of which remain as of yet unclear, although each episode investigates one of the three “ecstasies of time”—past, present, future—concerning society X. N30 concerns itself with the PRESENT: not with the description of actual facts but of the rhythm and the intense depth in which facts appear to us. Where are we? We are camping in the desert. Sometimes we are looking at the stars. As opposed to maximum density and minimal tension (a characteristic of most (post-)experimental lyricism), I have sought a minimal density and maximum tension in this book, considered as a long non-narrative prose poem. On the one hand, the minimal density is obtained by the inherent formlessness of prose, on the other hand by the conscious refusal of any active (formal, non-rhythmic) synthesis: the poem tells nothing, shows nothing, has no theme. I did not seek maximum tension either by loading the quotidian with epiphanic radioactivity (“wonder,” confirmation from above), or by means of the intensity of the linguistic structure. I want an abstract tension, but social in its abstraction, in other words, not neutralized by and subjected to Form. Instead of form (transcendent): composition (immanent). The concept is series. Ideal: every unit is necessary for the efficacy of the others and the whole, their relation is purely linear, i.e. non-hierarchic, non-syllogistic, non-discursive, non-narrative. Sentence related to sentence like paragraph to paragraph and chapter to chapter; the whole means nothing and represents nothing. Inside the sentence: syntax (Chomsky’s tree, a type of parallel circuit), outside: parataxis (coordination, an asyntactic line through language and world). I consider duration—the energy of duration (rhythm)—to be the fundament of a poem, the temporal inclination to delimit a “space.” Being as consistency, its consistency. A spatial part of time is not merely a metaphor for an inevitable trajectory, an inescapable time, something like “our time.” Not merely—because rhythm comes from language and is not projected onto it; the poem derives from the world like a scent and a color and a life from a flower. A series, a sequence: nothing potential, but truly infinite—the movement of an infinitude. The infinite series = everything minus totality. That means that there is no container—no Form, no Self, no Image, no Structure, not even a Fragment—just “the prose of the world.” No representation, but also no staging of the impossibility of representation (the postmodern sublime). These are no fragments, no image of a fragmented world or personality, no cautious incantations around the Void. It does not exist. It is a movement. Buying bread, a flock of birds, a bomb falling—they do not depict or represent anything, not literally, not metaphorically. There is an Idea, which is however nothing more than a rhythm, in the same way that capitalism is nothing more than a pure function. Parataxis: the white space between two sentences stresses, which is nevertheless always there, also between words, even between letters: the out of focus of idle talk, the gutter, the irreducible Mallarméan mist which renders even the seemingly most transparent text legible. The white space suggests a neutral medium for free signification, a substance of language. A non sequitur is an element from a foreign discourse, which stresses the white space as space, and problematizes freedom for supra-sentential signification. I start by withdrawing material, leaving the initiative to the sentences. In general a word presupposes less often a discourse than a sentence. What discourse is presupposed by “dog”? We could think of several, but why would we? It is more probable that, when faced with the naked word, we think of its naked (dictionary) meaning, of its denotative signified. By means of two simple interventions we may also write the word as sentence: Dog. In no way this suggests the discourse from which this sentence originates, but in any case we’re presupposing one. This is shown by questions like: “Whose dog? Who’s a dog? What kind of dog?” Etc. (Sentences are question marks.) A sentence implies/is a microcosm—a subject, a verb, an object, and so on. Even an incomplete or ungrammatical sentence does so. My main fascination while writing this book is the worldly and social aspect of language, an aspect that often becomes invisible, or rather, transparent in narrativity—the stretching of sentences into stories. Narrativity organizes a new discourse and a new world, and places a sometimes all too dispersing relation of transparence in between. The conventional novel is the brothel of being. I do not intend to prohibit brothels, and I have certainly not intended to write an anti-novel (THIS IS A POEM), but I do consider narrativity (in general, in poetry, in the news, in daily life) to be ontologically secondary with regard to an immediate being in the world through sentences, also if the latter have been withdrawn from a narrative or otherwise externally structured discourse (which in that case would therefore be chronologically primary ). Naturally, two or more sentences are always in danger of telling stories or arguing, just like the world is always in danger of becoming an objective representation, facing us, strangers. That is why need to wage war—against representation and against the interface, against interaction. AGAINST THE “READER.” To the extent that a sentence is worldly, writing is a condensed global war, and in so far as there is ultimately only one world and one open continuum of languages, it is a global civil war. Nice subject for an epic. The elaboration of a singular problem—prose as the outside of poetry, the form of the novel as purely prosodic composition scheme—“expresses” the universal problem: capitalism as Idea of the world vs. poetry as language of an (im)possible community. The paragraphs are blocks of rhythmically contracted social material. By choosing the sentence as the basic compositional component, an abstract whole may contain social sounds, without telling a story or showing an image. Composition is subrepresentative —a rhythmic, passive synthesis, or rather: a synthesis of syntheses. I never write large blocks of prose in one sitting, because there is no obvious organizational vector —plot, theme, conscience—outside the inherent qualities of the material itself. Usually I write down one sentence, sometimes two, but rarely more than three. Those sentences are usually placed in the text which I am editing at the time. In fact, there is no original composition, new chapters split off from chapters which became too long during the editing process. (Revision mainly consists of adding and inserting, displacing and dividing; only during the last phase, when the text has gained enough consistency, there may be subtraction to tighten the composition; each chapter requires a season of daily revision). This constant revision, accompanied by a continuous influx of collective background noise (to speak with Van Bastelaere), 7 makes every chapter a block condensed (“historical” and “personal”) time. The block itself is a-personal and a-historic; it is ontologically autonomous. If there is such a thing as a spirit of the times, I do not try to offer an image of it, but rather to cancel something of it by erecting a monument of its own excrement within its own boundaries. Tuning and dis-tuning , “in de taal der neerslachtigen een eigen geluid doen klinken,” 8 in other words, desiring in an Elysian way. In this sense I have intended to be able to write a political poetry. The ultimate political poem is the epic, “the tale of the tribe.” I consider N30 to be a prolegomenon to a future epic (of which it in the end will form a part a structural moment, as introduction-in-the-middle), an extended pile on top of an epic as narrative, a question of the tribe and question of its history. I was burdened by too much satire, too much bullshit. But: satire willy-nilly = the only justifiable satire. Against the abstract universalism of the market (“globalism”): concrete disgust, a positive way of saying “No.” Moreover, disgust is a specifically total attitude, which ultimately concerns the world as a whole. I hate this or that, but I am disgusted by EVERYTHING (when I am disgusted), and so it appears that satire is in fact related to the epic, in so far as it concerns society, the cosmos, history. Maybe it is no coincidence that the Dutch literary canon knows no great poet of disgust; what could be more fearful to us than society, the cosmos, and history? The T-tendency (T from Tollens 9 ) clearly points into the direction of the small, friendly, ironic, melancholic, acquiescent, wondrous, and so on. The anti-political, anti-cosmic, anti-historical. (Why am I so philosophical? To scare away the Dutchies.) And most of all: the “poetical” (the pseudo-mysticism from the backyard). Yes, the N in N30 also stands for the Netherlands (just like 30 indicates the number of chapters). I was not in Seattle, I do not live in Iraq. But is not the whole world bleeding to death on Dutch paving stones? Let’s hope that we mowed away something with this total satire, also “in myself.” The arrogant stupidity that definitely thinks to know the essence of freedom (the free development of esthetic needs inside the void), that cannot take anything serious, only believes in the disciplined bestiality of the individual (“norms and values”) and the mere functioning of a social factory which finds no justification whatsoever outside its functioning (“get to work”)… Who knows. A certain aimed destruction leaves grooves and craters, mapping out a next adventure. Pound’s periplum : sailing while mapping the coasts. Immanent orientation. The terrain changes with the map, history changes with the poem. Maps never merely organize the chaos, transcendent schemes imposed on a formless Ding-an-sich . They organize from within, surfing. But they are most of all routes back into the chaos or forward to paradise (final identity of chaos and paradise; Schlegel: “ Nur diejenige Verworrenheit ist ein Chaos aus der eine Welt entspringen kann ”10). A poem is not only a piece of history, it is also a flight from history. Maps give chaos to the form of reality , open escape routes, break through representations, make us shivery and dazed. Paradise is immanent to a fleeting desire. History is the history of labor—this is Adam’s curse—and the poet works too: For to articulate sweet sounds together Is to work harder than all these, and yet Be thought an idler by the noisy set Of bankers, school masters, and clergymen The martyrs call the world 11 But: the poet works in paradise. The paradox of the artwork, the work that is no work, the piece of history that cannot be reduced to History—this is explained by The Space of Literature , a virtual space, an autonomous rhythm, not outside, but in the midst of the noise, a piece of paradise in hell, a postcard from the vale of tears addressed to paradise, to X. Political poetry means: a poetry that dares to think about itself, about its language and about its world and about the problematic relation between both, which is this relation as problem. A poetry that thinks at all, articulates its problem. It has nothing to do with journalism or morality or debate, let alone the law or the state. It has nothing to do with “criticism” if this means the replacement of incorrect representations by other, more correct representations. It has something to do with ethics in the sense of learning to live. It has something to do with the community and the language of the community (whichever that may be) and the role of the poet regarding the community. It concerns justice without judgement or measure. In the end the just word is just a word , to paraphrase Godard: it is from a future that is unimaginable. It Is no rational engagement, but an aversion against everything that obstructs life, and love for everything what is worthy of having been loved. The world is engaged with me, not the other way round. First Exodus, then Sinai. A desire does not start with an agenda. To answer the question whether I am really so naive as to want to change the world: “We only want the world.” Justice is the world appealing to us to liberate it from all possible chains, from each organization and inequality, to be it, smooth, equal, under a clear sky—a desert and a people in a desert. That moment between Egypt and the Law. It is not a revolution, but the sky above the revolution. Poetry = the science of escape. There is no art that we already know. The weakness of modernistic epic poetry seems to me to be the unwillingness to completely abandon narrative as a structural principle, in favor of a composition “around” or from an event. The China Cantos and Adams Cantos are the low point, and the Pisan Cantos the high point of Pound’s poetry. Two types of research: archival representation of the past vs. ontology of the present (which virtually presupposes the entire history). Presupposing an event means that it is impossible for the poet to stage his own absence, but in no way makes the work personal. An event is the unknown, the new invading into the business as usual, so also the personal. The question heading this research is not: “Who am I?” but “What is happening?” The book is as little illegible as Mondrian’s work is invisible. Form is of interest only to the extent that it empowers liberation. Ron Silliman So no formalism, but what it means to live in this world and to have a future in it. I want something that holds together that’s not smooth. Bruce Andrews The past above, the future below and the present pouring down: the roar, the roar of the present, a speech— William Carlos Williams If my confreres wanted to write a work with all history in its maw, I wished, from the beginning to start all over again, attempting to know nothing but a will to create, and matter at hand. Ronald Johnson NOTES 1) “The easy thing/ that is difficult to make.” Bertold Brecht, Lob des Kommunismus . (All footnotes are the translator’s) 2) Maurice Blanchot, The Space of Literature , trans. Ann Smock. Lincoln/London: University of Nebraska Press (1989), 75. 3) Mettes uses the word “Neerlandicus,” which refers to scholars of Dutch language and literature. 4) Dutch poet. 5) Gertrude Stein. “Composition as Explanation.” A Stein Reader . Ed. Ulla E. Dydo. Evanston, IL: Northwestern University Press (1993), 495-503. 6) Ezra Pound. 7) Flemish poet. 8) “Resounding an original sound in the language of the despondent.” A. Roland Holst, De afspraak . 9) Dutch poet. 10) “Only such a confusion is a chaos which can give rise to a world.” 11) W.B. Yeats, “Adam’s Curse.&rdquo. (shrink)

Although the system T of ticket entailment is obviously related to its cousins E and R , it is motivated along quite distinctive lines in Anderson and Belnap [1975]. It would seem, accordingly, that T is more nearly akin to the system P W studied in Martin [1978] than to E and R. The result presented here, however, at least suggests the contrary.

Batterman examines a form of scientific reasoning called asymptotic reasoning, arguing that it has important consequences for our understanding of what physicists call universal behavior, as well as of the scientific process as a whole.

An English language translation accompanies the original Greek text of Aristotle's book about the nature of the state, constitutions, revolutions, democracy, and oligarchy.

In lieu of an abstract, here is a brief excerpt of the content:A DIFFERENT METHOD; A DIFFERENT CASE: THE THEOLOGICAL PROGRAM OF JULIAN HARTT AND AUSTIN FARRER WILLIAM M. WILSON University of Virginia, OharlottesvUZe, Virginia, WRITERS COVERING the work of Julian Hartt or Austin Farrer-the :llew that there ar~generally find that the hest introduction is a straightforward acknowledgement that what is to come is unique. Basil Mitchell, for instance, has said that no matter how one catalogues contemporary theologians, a footnote (...) will be needed, reading " and then of course there is Austin Farrer." 1 Likewise, David Kelsey has said that Hartt's work "is not identi:firuble as a variant on any of the options on the present scene." 2 Those already aicquainted with Hartt and Farrer will no dorurbt agree with the sense o[ these assessments; but if they have heen carefol students they will demand, nev,ertheless, a slight qualification : Hartt,and Farrer.are unique as a party of two. Farrer is a " variant " on Hartt; Hartt belongs down in the footnote aibout Farrer. But from the claim that these two are unique it does not follow that their wo:vk is something akin to those bold " new theologies " fashioned from the innocent's quest for a faith untouched hy either the hands of tradition or the perplexities of our time. Farrer's: anchorage in tradition is obvious throughout his writing and clearly stated in the preiface to his first 1 ' Austin Marsden Farrer,' A Oelebmtion of Fa,ith, ed. Leslie Houlden (London: Hodder and Stoughton, 1970), pp.13-14. 2" Christian Sense Making: Hartt's 'Theological Method and Imagination,"' The J owrna,Z of ReUgion Vol. 58 (4), October 1978, p. 428. 599 600 WILLIAM M. WILSON work. There he said that he was " possessed hy the Thomistic vision" and w:as incapable of "thinking it wrong."3 As to novelty, he had this to say:. •. it is indeed absurd to propose new grounds for belief in the existence of God. The belief has stood for more than ~.ooo years if we are to speak of the essentials of transcendental theism. If belief has been reasona9le it has had a reason, and our only business must be to draw this out and restate it.4 It is.fair to say, to 1be sure, that Farrer "drew out" and "restated " that reason in a. way unlike that of any other contemporary Thomist. There are some who would deny him even the label.5 And it is in this sense that Mitchell's statement about him must remain: If " transcendental," " Neo-," and " traditional " Thomist are three current categories, Farrer is a footnote to them. Hartt, unlike Farrer, has ne,ver labeled himself, hut none of his readers can miss his hostility to any pretense to novelty, even to those which have become our standard fare. The good ship theology (has taken) on a radioactive cargo, its company attracted by the dynamic and dazzle of it all. Relevance~ Historicism, several varieties of analysis, Secularism-what a promising manifest! 6 The " spirit of the age " is not to illuminate the gospel, according to Hartt, rather it is the gospel which illuminates the spirit of the age.7 s Finite and Infinite: A Philosophical Essay, Ibid., p. 1. 11 But see note 5 above. JULIAN HARTT AND AUSTIN FARRER 603 I. The Uniqueness of Hartt and Farrer In a recent encydopedia entry, David Kelsey arranges a useful chart of contemporary theology according to the answers given to " the array o:f decisions theologians must make in the course of doing theology." 12 According to Kelsey, theologians must decide the subject matter o:f theology, the importance o:f cultural context, the 1wudience, the significance of the theologian 's vantage point, the goals o:f theology and the best means o:f accomplishing them. For our purposes o:f identifying Hartt and Farrer, however, we need concentrate only on the first and the last-the question o:f subject matter and the question o:f the hest means £or attaining theological ends. The latter (being the last question the theologian must face) best :identifies the overall mind o:f the theologian at work. Thus, against the standard answers given here, I shall try... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Purpose of Hegel's System FRITHJOF H. BERGMANN THIS ESSAYIS MEANTtO answer the question: what was Hegel really trying to do; what was the program that his system attempted to execute; what was the general enterprise that his philosophy sought to perform? Two things are clear: (1) Hegel insisted that philosophy had to be systematic. He ridiculed philosophers who made disconnected assertions and accused them of "shallowness" and of (...) "inspirationalism." The systematic exposition of philosophy was for Hegel synonymous with doing philosophy scientifically. If a proposition was not presented in the context of a philosophic system, it could not be more than a bald and unsupported assertion that did not merit serious philosophical consideration? (2) Hegel claimed that his own system demonstrated the "necessity" of its contents. The majority of the German Hegel scholars, Haym, Haering, Fischer, Rosenzweig, and Glockner, for example, never attempted to arrive at a precise explication of the function of Hegel's system or of his concept of necessity. They were interested in altogether different questions. The Englishspeaking scholars are generally agreed that by "necessity" Hegel meant "deductive certainty" or something very akin to it and that his system was therefore intended to demonstrate the indubitability, the certainty, or the a priority, of the propositions it contains. The deductions of Hegel's system were, according to them, designed to guarantee the factual truth of the statements derived. The general function of the system was to eliminate doubt. Stace, for example, defends this interpretation in his well-known book The Philosophy of Hegel. 2 In fact, he regards this claim to deductive certainty as the "cardinal claim" of Hegel's philosophy and extends it furthermore beyond the limits of Hegel's system so that, according to him, every possible true proposition can be established with logical necessity. Stace says: If we could discover a first principle, and could prove that it followed by logical necessity from that first principle that there must be a world and that it must be just the sort of world it is, then we should have an explanation.... Thus a philosophy which would genuinely explain the world will take as its first principle not a cause but a reason. From this first reason it will proceed to deduce the world, not as an effect, but as a logical consequent. We shall then see not merely that things are as they are, but we shall see why xCf. Preface to the Phenomenology. W. T. Stace, The Philosophy of Hegel (New York: Dover Publications Inc., 1955). [189] 190 HISTORY OF PHILOSOPHY they are as they are. This is the fundamental Hegelian idea of explanation. This is what tIegel's philosophy attempts to do? Later in the book Stace examines the "extraordinary position" which Hegel "takes up" on the question of the "contingency of nature." Hegel, as Stace points out, believed that particular facts and things cannot be deduced, that the "details of nature.., are governed by contingency and caprice." This position, according to Stace, "will not bear examination." Stace ascribes to tIegel the premise that "there is in this stone, or this man, nothing but thought, nothing but universals," and it, in Stace's opinion, implies that everything can be deduced. "If we are to have an idealistic monism it must explain everything from its single first principle, thought. And that means that it must deduce everything. To leave anything outside the network of deduction, to declare anything utterly undeducible, is simply dualism." * To answer this interpretation thoroughly, the character and purpose of Hegel's system has to be explained. This we shall attempt in the remainder of this essay. But three points can be made in a preliminary way: 1) Is the position which Hegel did not hold, but which he should have held, according to Stace, any more tenable than the position which Stace rejects as inconsistent? Is it really conceivable that every last fact concerning tile universe--including the number of hairs on Hegel's head--could be "logically deduced" from a first principle? 2) Did Hegel really accept the premise which in Stace's opinion implies that every fact must be deducible? This would certainly be important, since Ilegel... (shrink)